White Christmas

 
1.	FULL SHOT - REAR AREA - (DAY) - (GLASS)
 
	This is December 24, 1944, in the first safe area 
	directly behind the battle line, in the Italian theatre. 
	In the distance occasional artillery light flashes are 
	seen and artillery rumbles are heard.  The battered 
	terrain shows the effects of battle.
 
	In the foreground is a recreation area, covered with 
	camouflage; entertainment is in progress on a raised 
	stage.  Men of the division are seated about on benches,
	boxes, and the ground.  A camouflaged motor pool of
	jeeps and tanks is nearby.
 
2.	MED. SHOT - NEAR RECREATION AREA
 
	We can HEAR LAUGHTER and APPLAUSE from the men as a
	jeep with two stars on the front indicating it is 
	the General's car jounces along a road toward the side 
	of the recreation area.  A YOUNG SERGEANT is at the 
	wheel, an ADJUTANT beside him, and in the rear are
	GENERAL WAVERLY and GENERAL CARLTON.
 
3.	JEEP - MED. CLOSE
 
	As it jounces along.  General Waverly is weather-
	beaten and weary; his uniform, while neat, shows the 
	effects of long wear.  General Carlton, on the other 
	hand, is stiff, clean and fresh from the Pentagon. 
	He is staring off at the recreation area.
 
				GENERAL CARLTON 
			(To Adjutant) 
		What's this all about, Colonel?
 
				ADJUTANT 
			(Turning) 
		A little entertainment for the men, 
		sir.  Tonight's Christmas Eve.
 
				GENERAL CARLTON 
		These men are moving up tonight.  They 
		should be lined up for full inspection!
 
	The jeep has come to a halt.
 
				GENERAL WAVERLY 
			(Eyeing him) 
		You're absolutely right. 
			(To Adjutant) 
		There's no Christmas in the Army, 
		Colonel.

				ADJUTANT
		Yes, sir.
 
	Waverly and the Adjutant alight from the jeep.
 
				GENERAL WAVERLY 
			(To Carlton) 
		There's always a slip-up or two 
		during a change in command.  The
		men get a little loose.  But I
		know I'm leaving them in good hands.
 
				GENERAL CARLTON
			(Stiffly)
		Thank you.
			(To Driver) 
		Sergeant, take me to headquarters
		immediately!  We'll have those men
		turned out on the double!
 
	The Sergeant looks at General Waverly.
 
				GENERAL WAVERLY
		Goodbye, Sergeant.  Take the short cut.

				SERGEANT
		Yes, sir! 
 
	The jeep pulls off and makes a half circle. The 
	Adjutant makes a gesture, as if to stop it. The 
	General stops him.
 
4.	TWO SHOT - GENERAL WAVERLY AND ADJUTANT
 
	The Adjutant turns to him.
 
				ADJUTANT 
		That's not the way to headquarters!
 
				GENERAL WAVERLY 
		Joe, you know that, and I know that, 
		but the new General doesn't know it. 
		Or he won't for about an hour and a
		half.
 
				ADJUTANT 
		That Sergeant'll be a private tomorrow!
 
				GENERAL WAVERLY
		Yes...isn't he lucky?
 
	He takes the Adjutant by the arm and leads him toward 
	the recreation area.

5.	RAISED PLATFORM - MED. SHOT
 
	CAPTAIN BOB WALLACE (BING CROSBY) is wearing a makeshift
	beard and Santa Claus hat and PRIVATE PHILIP DAVIS
	(DONALD O'CONNOR) is in combat clothes.  They are 
	doing a number to entertain the soldiers, WHAT DOES A 
	SOLDIER WANT FOR CHRISTMAS?  During introduction, we 
	CUT TO:
 
5A.	TWO SHOT - GENERAL AND ADJUTANT
 
	just starting to take seats, off to one side where 
	they are not noticed by the performers.
 
5B.	GROUP SHOT - ABOUT 6 SOLDIERS
 
	seated in audience.  They look off, see General, start
	to rise.
 
5C.	TWO SHOT - GENERAL AND ADJUTANT
 
	The General notices them - motions for them to sit 
	down again, indicating he doesn't want attention 
	called to himself.
 
5D.	PLATFORM - FULL SHOT 

	The number concludes to applause.  Bob holds up his 
	hand for silence.  He removes his beard.
 
				BOB 
		Thanks, fellows.  I guess by now you 
		know the Old Man's being replaced by 
		a new Commanding General fresh out of 
		the Pentagon...this divisions's been 
		awfully lucky so far, but tonight 
		they're running a special on St. 
		Christophers at the PX... The Old Man's 
		heading back to the rear - he's never 
		moved in that direction in his life. 
		All I can say is, we owe so much to 
		General Waverly and the way --
 
				WAVERLY'S VOICE
			(A bellow)
		ATTENTION!
 
	Automatically, Bob stiffens.  Phil does the same.
 
6.	AUDIENCE - FULL SHOT
 
	Every man is at attention and every head has turned 
	to where General Waverly has taken up a position near 
	the front of the platform.
 
				GENERAL WAVERLY 
		Captain Wallace, button your shirt. 
		You're out of uniform!
			(Bob, grinning, hastily 
			buttons his shirt) 
		This division is now under the command 
		of General Harold G. Carton, and I 
		don't want anyone to forget it -- not 
		that he'll let you.  He's tough --
		just what this sloppy outfit needs. 
		You'll be standing inspection night and 
		day -- you may even learn how to march. 
		And if you don't give him everything 
		you got, I may come back and fight for
		the enemy.  Merry Christmas!
 
	The boys respond with "Merry Christmas".
 
				GENERAL WAVERLY
			(Embarrassed)
		Well --  I guess that's about it -
		uh - uh --
 
	Bob, covering his embarrassment:
 
				BOB 
		Perhaps I can help you out, sir.
 
	He turns to the musicians, gives the downbeat.  They 
	play THE OLD MAN, which is sung by the entire outfit. 
	The General stands at attention through the first 
	chorus, visibly moved.  During the second chorus he 
	starts up the aisle, revealing for the first time that 
	his left leg is bandaged to the knee. The Adjutant puts
	out his arm to help.  Waverly refuses. Toward the
	finish of the song, he turns, faces the men and salutes
	them.  The men return the salute.   (This is not a
	military mistake, the General salutes the enlisted men 
	as a deliberate gesture.)  There is a Red Cross ambu-
	lance standing by.
 
	DISSOLVE TO:
 
6.	CLOSE SHOT - (NIGHT) - TINY CANDLE
 
	THE CAMERA PULLS BACK to reveal a hand lighting a candle 
	on a tiny makeshift Christmas tree.  We reveal a number 
	or enlisted men huddled around the tree in a trench,
	including Bob and Phil.  One of the men looks at his 
	wristwatch.  Now another does.
 
7. 	CLOSE SHOT - WRISTWATCH 

	The hand is approaching midnight.
 
8. 	CLOSE SHOT - SOLDIER
 
	He is looking at his wristwatch.
 
9. 	CLOSE SHOT - WRISTWATCH 

	The second hand is pointing to the hour.
 
10.	FULL SHOT OF SCENE
 
	This is the prearranged signal for Bob to begin 
	singing WHITE CHRISTMAS.  Phil accompanies him on a 
	harmonica.  Toward the end of the song, an enemy
	barrage DROWNS out the music.  A shell BURSTS in the 
	vicinity.
 
11.	CLOSE SHOT - BOB AND PHIL
 
	Phil pulls Bob down in time to save him from the
	shrapnel burst.  This has also pushed Bob's face into 
	the mud, which he thinks is unnecessary.  Phil, ignor-
	ing Bob's hostile look, brightly continues with WHITE
	CHRISTMAS from where the song left off.  Bob finishes
	with him, but eyeing him.
 
	DISSOLVE TO:
 
12.	EXT. SKY - (NIGHT)
 
	CAMERA SHOOTING UP to the sky as brilliant fireworks 
	explosion lights up the screen.  Over scene SUPERIMPOSE:
 
12-A.	INSERT - NEWSPAPER 

	Headline reads:
 
				V-E DAY!
 
	As CAMERA MOVES FAST INTO headline, we LOSE the fire-
	works display and the headline covers the whole screen.
 
	DISSOLVE TO:
 
12-B.	INSERT - CHURCH TOWERS - (DAY)

	Bells are ringing for celebration of V-E Day.  CAMERA
	MOVES INTO mouth of one bell, blacking out the screen.

	DISSOLVE TO:
 
13.	EXT. BILL POSTER OF FLORIDA SHOW - (NIGHT)

	featuring names and pictures of Bob and Phil.  CAMERA 
	MOVES to a CLOSE SHOT of the picture, HOLDS for a 
	second, then suddenly the picture comes to life and we 
	are on the stage of the theatre where Bob and Phil are 
	doing the production number "BELLS".
 
14.	MED. SHOT - INT. THEATRE - AUDIENCE
 
	Perhaps twenty people, photographed at a slant.  They're
	warm.  One woman has a fan, some use programs.  They
	are enjoying the show, however.  There are some vacant
	seats apparent.  This theatre is a modern travelling 
	tent show, such as have been playing in Florida in 
	recent years, and beyond the sides we see palm trees, 
	characteristic of Florida.
 
15.	FULL SHOT - AUDIENCE
 
	APPLAUDING the conclusion of the number.
 
16.	MED. FULL SHOT - BACKSTAGE
 
	The curtain is down, the boys come off, the curtain 
	goes up on the next number, which is dancing.  Phil 
	and Bob are met by COOKE, the Company Manager.
	RITA, a luscious Latin type, and some of the remaining 
	chorus girls and other players ad lib, "Couldn't be 
	cuter!"  "Great."  "Very funny!"
 
				COOKE
			(To Bob and Phil) 
		New York's on the telephone.
 
	Bob and Phil, with Cooke, go to the backstage telephone.
 
				PHIL
			(Into phone)
		Hello.
			(He listens.  To
			Bob and Cooke)
		Oscar.
 
17.	MED. CLOSE SHOT - INT. MANAGER'S OFFICE
 
	This is the business office of Bob and Phil.  OSCAR is 
	their representative and manager, not their employer. 
	He is sixty and looks competent.  He refers to a tele-
	gram in his hand.  Pictures of the boys adorn the desk, 
	and Wallace and Davis sheets of previous shows are on
	the wall.  It must be evident from their billing that
	the boys are important stars in New York.
 
				OSCAR
		Listen, I just heard what you're doing --
		giving the cast a week off with pay for
		Christmas.  You don't know how touched 
		I am.  I'm all choked up.  Between sobs, 
		I managed to book you on the Ed Harrison 
		show this week to take up the slack. 
		It'll be stealing money.
 
17A.	CLOSE SHOT - GROUP 

	Phil is holding the receiver up to Bob.  Oscar's 
	VOICE can be plainly heard.
 
				PHIL
			(Into phone)
		We'll have to go to New York -- 
		four days and four nights of re-
		hearsals -- that's stealing money?
 
17B.	CLOSE SHOT - OSCAR
 
	As he speaks into the telephone
 
				OSCAR
		It is for me  -- I get ten percent. 
			(He listens for a moment) 
		Next time you guys make a charitable 
		gesture, find out if you got with 
		what to make it.  See you Wednesday.
 
	He hangs up.
 
18.	GROUP SHOT - PHIL, BOB AND COOKE
 
	Bob hangs up the phone.
 
				BOB 
		Well... while the cast takes it 
		easy we'll be slaving over a hot 
		kinnie.
 
				COOKE
		What train do you want?  There's 
		a one-thirty this morning but 
		you have to sit up all night.
 
				PHIL
		Let's get out tonight.
 
				BOB 
		Okay.
 
	The boys walk to their dressing room.  A group of the 
	chorines come flying by, toward the dressing rooms,
	with squealing.  They make quite a picture from the
	rear, bouncing and all.
 
				PHIL
		What are we going to do until 
		one-thirty?
 
				BOB 
		We'll eat dinner.
 
				PHIL
			(Looking at the re-
			treating bouncing) 
		Eat, eat  All you think of is 
		your stomach!
 
	Rita shows up in front of Phil.
 
				RITA
			(Eagerly)
		You said you had something to 
		rehearse with me after the show. 
		What is it?
 
	Phil evidently was trying to hide this from Bob and 
	is self-conscious at being caught.
 
				PHIL
		It's a kind of new dance number.
 
				RITA
			(Eagerly)
		I'm ready.
 
				BOB 
			(Taking Phil by
			the arm)
		He isn't.  Some business has
		come up.  See you in a week. 
			(He pulls Phil away)
		Come on, Romeo, dinner! 
			(Tempting him) 
		Lamb chops, lamb chops!

				PHIL
			(Pretending that he is 
			letting himself be pulled 
			while he is still anxious 
			to go in the other direction)
		I'm looking at them!  We're going
		in the wrong direction.
 
	DISSOLVE TO:

19.	MED. SHOT - WATERFRONT INN - BOB AND PHIL - (NIGHT)
 
	The boys are now finishing their dinner.  Bob is facing
	the orchestra, Phil would have to turn to see it.  The
	MUSIC plays, the boys eat.  The table is close to the
	bar.  On two stools sit JUDY and BETTY.  Betty is wear-
	ing her glasses and examining some railroad tickets that 
	have just been handed her by the bartender.  Phil is not 
	paying attention to his eating, he is entranced with 
	Judy's pretty legs draped over the bar stool.  Bob
	cannot see the girls and is not even interested enough 
	to turn around.
 
20.	MED. CLOSE SHOT - BETTY AND JUDY
 
	On her part, Judy is not absorbed in the tickets, but is
	unobtrusively sizing up Phil.
 
				BETTY
			(Checking the tickets) 
		We'll have to rush to get the 
		1:30 train.
 
21.	CLOSE SHOT - PHIL AND BOB
 
	Bob notices Phil's absorption.
 
				BOB 
		Have you ever considered laying 
		off the female sex for awhile?
 
				PHIL
		What other kind is there?
 			(He picks up the card 
			which announces the per-
			formers names and reads)
		'The Stewart Sisters.'  Sister act!
			(He smacks his lips.  He 
			doesn't realize that these 
			two girls are the Stewart 
			Sisters)
 
				BOB
		Down, Rover, down.  Remember, we
		have an agreement--you chase no new
		tidbits during the season.  You were
		man enough to give me your hand on it.
 
				PHIL
		You were sneaky enough to take it.
 
22.	MED. CLOSE SHOT - BETTY AND JUDY
 
	Betty looks from the tickets and sees that Judy is
	covertly eyeing Phil.  She leans forward.
 
				BETTY
			(Quietly) 
		Ahem.
 			(Judy's eyes are toward
			Phil.  A little louder)
		Ahem!  All right dear, relax.
 
				JUDY
		He's awful cute.
 
				BETTY
		So was the one in Kansas City,
		and the one in Canton, Ohio, and
		the one in Waco, Texas.
 
				JUDY
			(Mock seriousness) 
		Canton, Ohio wasn't so much.
 
				BETTY
		One of these days you're going 
		to meet somebody extra cute and 
		the next performance I'll be
		doing a single.
 
				JUDY
			(Sincerely)
		Nobody'll ever be cute enough 
		to break up this sister act.
 
23. 	MED. SHOT - BOOTH - BOB AND PHIL

	Phil is still fingering the card.
 
				PHIL
		I haven't much luck with sister 
		acts.  They're all alike.  Shall
		I tell you what these two are like?
 
 				BOB
		Shoot.
 
				PHIL
		Four feet two inches tall.  Pudgy. 
		Round races.  Have big bows in
		their hair.  Always smiling. 
			(He parodies a smile) 
		Lots of teeth.  Sister acts have 
		more teeth than anybody else. 
		Two, three hundred teeth at a
 		time.  The American Dental
 		Association is investigating it.
 
	There is a drum roll from the orchestra.  Betty takes 
	off her glasses and puts them in their case, on the 
	bar.  The bandleader's voice announces:
 
				BANDLEADER 
		Ladies and gentleman, the Stewart 
		Sisters!
 
	The audience applauds politely while the girls start 
	toward the platform,  Phil reacts in surprise to the 
	new development.
 
23-A.	PLATFORM - FULL SHOT
 
 	Betty and Judy do their number: "SISTERS".  As they
	take their bows --
 
24.	MED. SHOT - BOB AND PHIL
 
	Phil pretends to recognize Judy.
 
				PHIL
		Say, Dolores!  That's Dolores!
 
				BOB 
		Who?
 
				PHIL
		Remember that girl I told you 
		about who got sick in St. Paul? 
		That's her!  The girl in the
		oxygen tent!
		I told you about her!  The road
		company of "Student Prince."  The 
		whole company went to church and
		prayed for her!  It was the most
		touching thing I've ever seen in 
		show business.
			(He gets up.)
		I'll bring her over.
 
	He goes, Bob watching, disgusted.  NOVELLO, the 
	owner of the Waterfront Inn, comes up.
 
25.	MED. SHOT - BOB AND NOVELLO
 
	Novello evidently knows Bob.
 
				NOVELLO 
		Didn't you get your dessert yet, 
		Mr. Wallace?
 
				BOB 
		I'm not having any, but I think my 
		partner's lining up some pastries now.
 
				NOVELLO 
		Sure wish I could afford to book 
		you boys here.
 
				BOB 
		Call our agent - we've got half 
		an hour between trains.
 
	Phil enters the shot with Judy and Betty.
 
				PHIL
		Hello, Mister Novello.
 
				NOVELLO 
		Good evening, Mister Davis.
 
26.	MED. SHOT - GROUP
 
	Novello pulls out the table to permit the girls to
	be seated.
 
				PHIL
			(Burlesque formality) 
		Miss Stewart, Mister Wallace.
		Miss Stewart, Mister Wallace.
 
				JUDY AND BETTY
		How do you do.
 
				BOB 
			(Rising) 
		How do you do.
 
	Phil gets Betty next to Bob, he sits next to Judy.
 
				NOVELLO 
		See you later, folks.
 
				PHIL 
		'Bye.
			(He leaves)
 
				JUDY
		We saw your show at the matinee, 
		and we liked it very much.
 
				BOB 
		Thank you, ma'am.
 
	The orchestra has gone into WHITE CHRISTMAS. 

				PHIL
 		Where are you going to be for
 		Christmas?
 
				JUDY
		We're booked in Vermont.
 
				PHIL
		Vermont?  What's there?
 
				BETTY
		Snow.  We spent last Christmas in 
		South Carolina, the year before in 
		Hawaii.  They didn't seem like
		Christmases.  There ought to be 
		snow.  This one's going to be real 
		white.
 
				BOB 
		Well, it's the way you've been 
		raised.  If you saw a lot of snow 
		when you were a kid you miss it 
		more around Christmas. There's 
		a lot of snow around St. Paul.
 
				JUDY
		Is that where you come from -
		St. Paul?
 
	It dawns on him, slowly.  He shows no emotion. 
 
				BOB
		No.  You come from St. Paul.
 
				JUDY
		I come from Canton, Ohio.
 
				BOB 
			(Just for the record. 
			He knows) 
		I'd like to ask you something. 
		Were you ever in an oxygen tent?
 
				JUDY
		Oxygen tent?  Oh no!
 
				BOB 
		Were you ever in a road company
		of "Student Prince?"
 
				BETTY 
		No.  Why?
 
	Bob looks at Phil.  The rules are clear between them. 
	Bob puts his hand out.  Phil takes it.  They shake.
 
				BOB
		Very good.
 
				PHIL
		Thank you.
 
				BOB
		What I admire are the details,
		the invention, the little lies
		all around the big one.  It takes
		talent.

				PHIL
 		Oh, it's nothing.
 
				BOB
		Don't say that.  Don't belittle
		yourself.  Credit where credit 
		is due.  You did it fine.
 
				BETTY
		Private conversation?
 
				BOB
		Little game we play.
 
				PHIL
			(To Judy) 
		May I have this dance?
 
				JUDY
		I'd love to.
 
				PHIL
			(Helping her up) 
		I'm not going to keep calling 
		you Miss Stewart.
 
				JUDY 
		The name is Judy.
 
				PHIL
			(To Bob) 
		What a pretty name!
 
				BOB
			(They're off)
		Nicer than Dolores!
 
				BETTY	
		I'm Betty.

				BOB 
		I'm low man. Bob. 
			(He takes her arm,
			indicating Phil and Judy)
		Follow that couple.
 
				BETTY	
		Why?
 
	They move toward the dance floor.
 
				BOB 
		Want to make sure they keep dancing.
 
				BETTY
		Stop worrying.  He won't get any
		place with her.
 
				BOB
		You sure?

				BETTY
		I'm positive.  I trained her
		myself.
 
				BOB 
		She's in the ring with the champ, 
		though.  You've heard of Alcoholics
		Anonymous?
			(She nods; he indicates
			Phil)
 		Women Anonymous.  Their biggest case. 
		Keeps falling off the wagon.
 
				BETTY
		Well, you keep an eye on him, and 
		I'll keep an eye on her.
 
				BOB  
		Fine. We can make out the probation
		report together.
 
	The orchestra blends into a vocal chorus of the song.
	(To be decided upon.)  The vocal is shared by Bob,
	Betty, Judy and Phil, individually.  Toward the end
	of the vocal Phil dances Judy out to the terrace over-
	looking the water.  This blends into their dance.  The
	staging of the number should reunite the four principals 
	by the end of the number.  The audience applauds and 
	they all go back to their booth.
 
27.	MED. CLOSE SHOT - BETTY AND JUDY
 
	They are a half dozen steps ahead of the boys.
 
				JUDY 
		They're both very cute, aren't
 		they?
 
				BETTY
			(Hiding her real interest)
		Both?
 
				JUDY 
		Uh huh.
 
				BETTY
		Which one do you like best? 
 
				JUDY
		I like them both.
 
				BETTY
		You can't have both.  There's 
		a law.
 
				JUDY
		Oh, we'll never meet them again, 
		what does it matter?
 
	The men are now up to them and help them into the 
	booth.
 
28.	MED. SHOT - BOOTH - GROUP
 
	Bob does not sit.
 
				BOB
		Judy, you made even him look
		good.
 
				JUDY
			(Pleased)
		You're very flattering, but
		he was doing all the leading.
 
				BETTY
			(Fair) 
		You dance very well together. 
		If I say it.
 
				PHIL
			(Sitting) 
		Lightest girl I ever saw.  Floats 
		like a bubble.  One big bubble.
 
				BOB 
		All right, bubble lover, stand up!

				PHIL
 		What for?  I just sat down.
 
				BOB
		La train.  At one-thirty, and
		we have to pack.
 
				PHIL
		Train?
 
				BOB 
		You know, choo choo.  Goes on 
		tracks. 
			(Train whistle noise) 
		Wo woo.
 
				PHIL
		Oh no!

				BOB 
		Oh yes! 
 
				PHIL
		Can't we go tomorrow?
 
				BOB 
		The train goes tonight. 
			(Phil looks disconsolately
			at Judy)
		Say goodbye to the lady bubble, 
		because we're going to have to 
		run for it now.
 
				PHIL
		Lady bubble, I have an idea we're 
		going to meet up again sometime.
 
				JUDY
		We might, we're on the same train.
 
				PHIL
		No.

				JUDY
		Yes.
 
				BOB 
			(Pulling Phil away)
		No.

	As they start off, Novello enters to the girls, agitated.
 
				NOVELLO 
		The sheriff is here! He's in my
		office!
 
				JUDY
		The sheriff!
 
				NOVELLO 
		He's got a warrant to arrest you!
 
	Bob has stopped.  He looks at Phil, suspiciously.
 
				BOB
		I thought we watched you every
		minute.
 
	Phil holds up his hand in "Scout's honor."
 
				PHIL
		Never stopped dancing.
 
	Bob turns back to the table.
 
				BOB 
			(To the girls)
		Can we help?
 
				JUDY 
			(Fearful)
		I've never been arrested!
 
				PHIL
		There's nothing to it!
 
				BOB 
		Don't get panicky!
 
				NOVELLO 
		Yes, don't get excited, you still 
		have to give your show!
			(Apologetically) 
		He's not going to arrest them until
		after the show!
 
				BOB
		That's considerate!  How'd you
		arrange that?
 
				NOVELLO 
		I'm a taxpayer here!  You better
		go in and change, girls!  You
		haven't much time!
 
	The girls start off, confused.  Novello, Bob and
	Phil follow.

				BOB 
		May I enquire what you are being 
		arrested for?
 
				BETTY
		The owner of the hotel we were 
		at says we dropped a cigarette
		on his rug and burned it.
 
				JUDY 
		We couldn't have dropped a 
		cigarette because we don't smoke.
 
				BETTY
		He wants two hundred dollars, 
		but it's just plain stealing.
 
				JUDY
		We left the money for our bill in 
		an envelope on the bed.
 
				BETTY
		Then we dropped the bags out the window 
		and checked them at the depot.
 
				JUDY
		What are we going to do now?
 
				NOVELLO 
		You have to give another show.
 
	He leaves them, as Bob and Phil look unpleasantly 
	after him. They have reached the wings.
 
29.	INT. WINGS - MED. SHOT
 
	A STAGEHAND is setting up a record on a record-
	playing mechanism backstage, as the group passes by 
	heading for the dressing rooms.
 
				PHIL
		The old burned rug routine.
 
				BOB 
		Kind of old fashioned, isn't it? 
		I thought that went out with the 
		Cherry Sisters. We'll have to do
		something.
 
				PHIL
			(Hopefully) 
		Got a flash?
 
				BOB 
		A glimmer.  Have to stir it around 
		a little.
 
	The girls have opened the door to their dressing room.
 
				JUDY
		We wouldn't want you boys to 
		get into any trouble.
 
30-
31.	INT. DRESSING ROOM - MED. SHOT
 
	As they all enter.
 
				PHIL
		Why not?  Maybe we'll all wind
		up in the same cell.
 
	As they close the door, 

	DISSOLVE TO:
 
32.	INT. NOVELLO'S OFFICE - MED. SHOT 
 
	Novello is with the SHERIFF and the LANDLORD.  The
	Sheriff is a husky fellow. At the moment he's eating 
	an eclair and coffee, from Novello's desk.  The 
	Landlord glares at him.
 
				LANDLORD 
		That's the second dessert you've 
		had, Sheriff!
 
				SHERIFF
		Real good, too.
 
				LANDLORD
		I haven't got all night to wait here
		while you eat free food!  You've got
		your warrant, arrest those girls!
 
				SHERIFF 
			(Displeased)
		Now, we agreed to let them finish 
		their show first.
 
				LANDLORD
		I didn't agree! 
			(To Novello) 
		That was his idea!
 
				NOVELLO 
		I've got some rights, too.  You 
		don't get those girls until after 
		they've done their number!
 
				LANDLORD
		Well, how long is it going to take?
 
	Novello puts his hand up, listening.
 
				NOVELLO 
		Wait a minute! That's their 
		music!
 
 	He gets up, opens the office door, and we HEAR 
	their entrance music, as before, and the Orchestra 
	Leader's voice, "The Stewart Sisters."
 
33.	MED. SHOT - CAFE FLOOR
 
	Bob and Phil stand with their backs to the audience. 
	They turn, face front, and we realize they are mouth-
	ing to a record.
 
34. 	CLOSE SHOT - WINGS - RECORD PLAYER 

	We identify that the music is coming from this spin-
	ning record player we have previously established.
 
34-A.	MED. SHOT - CAFE FLOOR
 
 	Bob and Phil do the number.
 
35.	MED. SHOT - AUDIENCE
 
	They APPLAUD at end of number.
 
36.	MED. SHOT - INT. NOVELLO'S OFFICE

	We faintly HEAR the applause.
 
				LANDLORD
		They're clapping! It's over!
		Arrest them!
 
	The Sheriff gets up. 

	CUT TO:
 
37.	MED. SHOT - CAFE FLOOR 

	The boys bow themselves off, and run toward their 
	dressing room.
 
38.	MED. SHOT - CORRIDOR 

	They hurry down the corridor, passing the office door.
 
				BOB 
		Get out of these clothes! Toot 
		sweet!
 
				PHIL
		Ma, unhook my bra!
 
	The office door opens behind them, which they do not 
	see. The Sheriff steps out, followed by the Landlord 
	and Novello.
 
				SHERIFF 
			(Calm) 
		Just a second, folks!  I'll handle
		this!
			(He walks to the 
			dressing room door)
 
39. 	MED. CLOSE SHOT - DRESSING ROOM DOOR
 
	There is a plaque attached to the key in the lock. 
	The Sheriff smilingly turns the key in the lock. 
	He puts the key in his pocket.
 
				SHERIFF
			(Winking) 
		You stay here.  Let them try to
		go through the window.
 
	The landlord is delighted.
  
				LANDLORD 
		If they make a break for it,
		shoot 'em!

	WIPE TO:
 
40.	MED SHOT - EXT. CAFE - (NIGHT) - SHERIFF
 
	The Sheriff walks around the corner of the cafe, and 
	a police car awaits, with cop at the wheel.
 
				SHERIFF 
		Just a minute, Hank, couple of
		customers coming up.
 
				HANK 
		Okay, boss.
 
	The Sheriff continues to the window of our dressing
	room.

41.	MED.CLOSE SHOT - DRESSING ROOM WINDOW
 
	It opens.  The Sheriff watches it.  Out comes Phil's
	legs, meaning to get out backwards.  The Sheriff 
	applies both hands and pushes back.
 
				SHERIFF 
		Back you go, boys!
 
	He pushes Phil in.  Nimbly, he raises himself in.
 
42.	MED. SHOT - INT. DRESSING ROOM
 
	The Sheriff is in the room.  He looks coolly at the
	boys, who are now in their own clothes.  He stares 
	at them.  They stare at him.  Recognition comes all 
	at once.
 
 				PHIL 
		Pete!
 
				SHERIFF 
		Phil!  Bob! 

 				BOB
		Pete!
 
	They all throw their arms around each other, pounding
	violently.  'No!  Wow!  You dirty skunk!  You grave
	robber!'
 
				PHIL
			(Unbelieving) 
		Are you the Sheriff here?
 
				SHERIFF
		You bet I am!
 
				BOB 
		How'd you get in this line of work?
 
				SHERIFF 
		After I got out of the army I sat 
		down and figured it out!  Who never
		got in trouble in the army?  The M.P.'s! 
		They were the ones who arrested you! 
		So I came back here and ran for 
		Sheriff!
 
				BOB 
		A civilian M.P.!  If the fellows ever
		saw you now!  They'd skin you alive!
 
				PHIL
		You ever see any of them?
 
				SHERIFF 
		Whitey Harris and Jack Ross have 
		a filling station near here!
 
				BOB 
		Jack Ross!  Will you ever forget 
		the party he threw in Naples?
 
				PHIL
		In a captured brewery.  Very 
		sensible, giving a party in a 
		brewery.  Cuts out the middleman.
 
				BOB 
		Do you remember when Danny Beasly
		climbed up -
			(As he says 'Danny Beasly'
			he recalls Danny is dead) 
		- the tower of the City Hall and 
		rang the bell by swinging on the
		clapper?  He couldn't hear anything
		for two days.
 
				SHERIFF 
		Danny Beasly!  Too bad he didn't 
		make it.
 
				BOB 
		Not everybody was lucky.
 
				PHIL
		We were lucky in one thing -
		the old man.
 
				SHERIFF 
		You can say that again.  Say I'm 
		supposed to arrest a couple of
		dames!  A fellow swore out a
		warrant!
 
				PHIL 
		He's a crook!  Burned a hole in a
		rug and is trying to hold up two
		kids.
 
				SHERIFF
 		You don't say!
 
				BOB 
			(At his watch)
		We got to get our bags and be at
		the station in ten minutes!  We'll 
		never make it!
 
				SHERIFF
		Just a moment!
			(He goes to the window)
		Hank !
 
43.	REVERSE ANGLE - POLICE CAR - SHOOTING BY SHERIFF
 
	Hank looks up enquiringly.
 
				HANK 
		Yes, sir.
 
				SHERIFF 
		Take my friends where they 
		want to go!

				HANK 
		Yes, sir.

				SHERIFF 
		Hurry up!

				BOB 
			(Going out the window)
		Thanks, Pete.
 
44.	EXT. WINDOW - POLICE CAR
 
	Hank has thrown the door open.
 
				PHIL
		Do you think we can make it?
 
				HANK
		This thing goes over a hundred 
		an hour!  Hold on!
 
	He starts with his red lights going, his siren screaming, 
	and tires grinding.
 
45.	MED. SHOT - INT. DRESSING ROOM 
 
	The Sheriff watches them go, pleased.  A pounding on 
	the door recalls the Landlord, and he frowns.  He 
	strides to the door, takes out his key and opens it.
 
46.	MED. SHOT - CORRIDOR
 
	The Landlord and Novello are looking out the window 
	at the departing police car, the noise having dis-
	tracted them from the door pounding.  The siren is 
	still heard, retreating.  The Sheriff snaps his
	cigarette at their feet.  They turn to him, faces 
	alight.
 
				SHERIFF 
		They escaped!  We're pursuing 'em!
 
				LANDLORD 
		Escaped!
 
				SHERIFF 
			(Pointing) 
		What do you mean smoking on
 		theatrical premises!
 
				LANDLORD
		That's not mine!  I wasn't
		smoking!
 
				SHERIFF
		What's that burning?  A lollypop?
			(He grabs him by the 
			shoulder, not too 
			gently, and starts 
			him out) 
		Come on!
 
	He protests, 'What - !' 'But!'  Novello is openmouthed.
 
 	WIPE TO:

47.	EXT. STATION - (NIGHT)
 
	The train is already moving as the police car arrives. 
	The girls are on the observation platform.  The police 
	car screams to a stop.  The boys fly out, with bags, 
	and just make the train, the girls pulling them aboard.
 
				JUDY
			(Seriously)
		You didn't steal the police car?
 
				PHIL
		No, no.  Friend of ours. 

	They go toward the lounge car.
 
48.	MED. SHOT - INT. LOUNGE CAR - GROUP
 
	They all take seats in the lounge car, happy to have 
	accomplished their escape.
 
				BOB 
		Well, we'll be together as far 
		as New York.

				BETTY
 		Maybe it'll snow in New York for
		Christmas.  If it doesn't, we'll 
		mail you a snowball from Vermont.
 
				JUDY
		I haven't been on ice skates in 
		years.
 
				PHIL
		Ice?  You mean the stuff in a 
		Scotch and soda? 
			(Suddenly)
		Bob, how about snow for Christmas?
 
				BOB 
		You'll only thaw it out.
 
				PHIL
		Come on, Bob, we could have a 
		great week up in Vermont.
 
	Bob looks from him to Judy, whose expression is 
	almost pleading.
 
				BOB 
		I see what you mean.  But Wednesday 
		we've got to be back in New York.
 
				PHIL
		All right-- so it's just for a
		couple of days.  Don't you want
		me to enjoy the winter sports?
 
				BOB 
		You enjoy them all year round. 
			(He looks to Betty) 
		We won't get in your way, will we?
 
				BETTY
		As long as your friend doesn't try 
		to take my sister for a sleigh ride.
 
				BOB
		If he tries it, I'll smash his flexible
		flyer.
			(To Phil) 
		It's all set.
 
				PHIL
			(Really pleased)
		The thing I like about you, Bob, 
		is you're not only kind and 
		generous, you're handsome.
 
				BOB 
		We're going to have to sit up all
		night.  Let's get some shut eye.
 
	DISSOLVE TO:
 
49.	FULL SHOT - EXT. TRAIN - (NIGHT)
 
	The rhythm of the wheels and the engine funnel, under-
	scored musically.
 
50.	MED. SHOT - INT. TRAIN
 
	All but Phil are half dozing.  One or two other people 
	are seen in the background, asleep.  There is an air
	of peace and quiet in the car, as the music under-
	scoring continues.  Their faces are occasionally
	streaked with light flashes emanating from the
	surrounding countryside.  Phil turns to the side of
	the car and sees a bill poster showing a copy of a 
	winter scene from the Grandma Moses collection, 
	advertising Vermont.  CAMERA PULLS UP
 	TO scene, the music swells and we DISSOLVE to a 
	similar landscape in stylized concept.  This is
	the WINTER FANTASY production number.  At the end
	of the fantasy we hear the Conductor's voice, 
	"Pine Tree.  Pine Tree, Vermont."
 
51.	MED. SHOT - OUR GROUP - (DAY)
 
	They are bundling themselves up, coat collars tight, 
	expecting to enter the snow country.
 
52.	REVERSE ANGLE - SCENE THROUGH PLATFORM DOOR 
 
 	Pine Tree Station, all green, no snow.  Four hotel 
	busses await, one marked 'Columbia Inn Bus.'
 
53.	FULL SHOT - PINE TREE STATION - (GLASS SHOT)
 
	Our foursome is just getting off the train.  They 
	are the only ones.  They are looking about,
 	puzzled.
 
				PHIL
		Are you sure this is the right 
		Vermont?
 
				BOB 
		This isn't a southern Vermont?
 
				JUDY
		I don't understand it.
 
				BETTY 
		There has to be snow!  This place 
		is advertised as America's Snow
		Playground!

				BOB 
		Well, if you say so.
			(Gesturing to the 
			waiting Columbia 
			Inn bus driver) 
		Driver, your sleigh and reindeer.
 
	The other three bus drivers are disappointed.
 
	DISSOLVE TO:
 
54.	FULL SHOT - BUS EN ROUTE

	The bus goes by an incongruous skating rink, with 
	water instead of ice.  Signs indicate the direction 
	of the sun scorched toboggan slide. 

	WIPE TO:
 
55.	MED. SHOT - BUS EN ROUTE
 
	The bus winds around another turn in the beautiful 
	green surroundings and we pass a ski lift and a 
	ski jumping platform. 

	WIPE TO:
 
56.	MED. SHOT - BUS EN ROUTE
 
	Still another turn of the bus, and in the distance 
	we see a LONG SHOT of the Columbia Inn.
 
57.	MED. SHOT - INT. COLUMBIA INN
 
	MARTHA, a sixty year old spinsterish woman, good of 
	heart, forbidding exterior, is occupied at the desk.
	The door opens and a pretty fifteen year old, SUSAN, 
	carrying the mail, walks toward her.
 
				SUSAN 
		Mail, Martha.
 
	She puts the mail on the desk.
 
				MARTHA 
			(As she shuffles through it) 
		What's the weather forecast down at 
		the Post Office?
 
				SUSAN 
		Awful.  Fair and warmer.
 
				MARTHA 
		If we don't get snow soon we can turn 
		this hotel into a haunted house.  We 
		haven't had a guest for three weeks.
 
				SUSAN
			(As Martha keeps searching 
			through the mail) 
		What are you looking for?
 
				MARTHA
			(Not finding it)
 		Your grandfather's written Washington 
		asking if he can get back in active 
		service.  I think he wants to fly jets.
 
				SUSAN
		I think he could do it.
 
				MARTHA 
		He says older men have been called,
		and besides, he misses the food.  I
		tell you, Susan, he tried to make 
		it a casual letter, with little 
		jokes, but it came out just begging.
 
	Through the huge window behind Susan and Martha we 
	see the figure of a man in overalls, bending over an 
	incinerator, shovelling the ashes into a wheelbarrow. 
	His back is to CAMERA.
 
				SUSAN
			(Moved) 
		Oh, Martha!  What are we going to do?
 
				MARTHA 
			(Blowing her nose)
		I don't know.  Don't let on we know 
		he's written.  He'll start in I'm 
		only his housekeeper and that I found 
		out through some chicanery or some-
		thing.
 
				SUSAN
			(Soothing her) 
		How did you find out?
 
				MARTHA 
		Like any housekeeper --  I read the
		carbon paper.
			(She hands the mail
			to Susan) 
		Bring him the mail.
 
	Susan starts out as CAMERA MOVES UP to window.  After 
	a moment, Susan appears and crosses to the man in
	overalls.  He straightens up, dusts off his hands,
	and as he turns to take the letters, we see for the
	first time that he is General Waverly.  He looks
	through them, eagerly, then, downcast, shoves them 
	in his overalls and goes back to his work.
 
	DISSOLVE TO:
 
58-59	OMITTED

60.	FULL SHOT - EXT. INN - (DAY) 

	The bus comes to a stop and our principals get out,
	Phil staying with the driver for the luggage.  The
	others enter the inn.
 
61.	MED. SHOT - INT. INN
 
	Martha at the desk, and her eyes widen in surprise.
 
				MARTHA 
			(Happily) 
		Welcome to Columbia Inn.  How do
		you do?
 
				ALL 
		How do you do?
 
				MARTHA 
			(Offering pen) 
		What kind of accommodations would 
		you like?  We can give you a 
		fairly wide choice--any room in 
		the Inn, including mine.
 
				BETTY 
		We're not here as guests.  We're
 		the Stewart sisters.
 
				MARTHA 
			(Disappointed)
		Oh.
 
				BOB
		My friend and I are guests.  We've 
		come down for the snow.  Where
		are you keeping it?

				MARTHA
 		We take it in during the day!
 
				BOB 
			(Looking around) 
		What are your rates here?
 
				MARTHA  
		Make us an offer. 
			(To the girls) 
		I'm afraid we won't be able to use 
		you.  We'll pay you the half salary 
		for cancelling.
 
				JUDY
		Oh, no!  Are things that bad?
 
				MARTHA 
		We're using the ski-tow to hang the
		wash on.
			(To Bob) 
		You're not going to stay either, 
		are you?
 
				BOB 
			(Shaking his head) 
		I'm afraid not, ma'am.
 
	Through the door comes Waverly, carrying a load of 
	wood in one arm, and a bucket of coke in the other 
	hand.  Susan follows carrying an armful of kindling.
	Bob turns away.
 
				BOB 
		I'll tell Phil to leave the luggage -
			(It hits him, he comes
			to a stop, and then
			to attention) 
		General Waverly!  Sir!
 
				WAVERLY
			(Easy, simple)
		At ease!  How are you, Captain.
 
				BOB 
		I'm fine, sir.
			(But he looks around 
			questioningly, bewildered)
 
				WAVERLY
			(Smiling)
		We just try to keep the General
		part quiet.

				BOB 
		Why?
 			(Reminding himself)
 		Begging your pardon, sir.
 
				WAVERLY
		Well, to put it in one sentence,
		people don't expect major generals
		to carry firewood.
 
	Through the door comes Phil, fast, talking:
 
 				PHIL
		Bob, I was thinking we ought to -

	Phil has his arm out indicating the direction of the 
	door, when he sees Waverly.  He freezes.  He brings 
	his hand up to a salute, from that position.
 
				WAVERLY
		At ease!
 
 				PHIL
		Oh, sir!  
			(Horrified)
		A janitor!
 
				WAVERLY 
		Never thought I'd make it, eh? 
		....Matter of fact, it's worse than
		that.   I own this hotel.
 
				MARTHA 
		He got it in a shrewd business move.
 
				BETTY
			(To Bob) 
		Was everybody in your outfit?  We seem 
		to run into them all over the country.
 
				BOB
		The Draft Board didn't know when to
		stop.
 
				WAVERLY 
		If I start the introductions, can I 
		get to meet these young ladies? 
			(Indicating them) 
		My housekeeper, Miss Martha Allen, 
		my granddaughter, Susan Waverly.
 
				BOB 
		I'm Bob Wallace-- this is Phil Davis --
 
				BETTY
		We're the Stewart sisters.
 
				JUDY
		Your floor show.
 
				MARTHA 
			(To Waverly)
		Don't worry-- I've already told them
		we'd have to cancel.
 
				WAVERLY 
		Why?  We have a floor, haven't we?
 
				MARTHA 
		Last time I looked.  But who are they
		going to sing to?
  
				WAVERLY 
		Even if it's only to you and me, it 
		will be well worth it.  Besides, there 
		will be six inches of snow tonight and 
		we'll be full up tomorrow.
 
				BETTY
			(Happily) 
		Is that the weather forecast?
 
				WAVERLY 
		No.  But if there was one thing I 
		learned in the army it was to be 
		positive -- especially when you don't 
		know what you're talking about. 
		You'll excuse me, gentlemen,  I'm on
		K. P.
 
	Phil and Bob stiffen automatically.
 
				PHIL AND BOB
		Yes, sir!
 
				WAVERLY 
			(To Betty and Judy) 
		And you two charming ladies, I want 
		you to know I'm looking forward to 
		your show this evening.  Whatever 
		your audience lacks in numbers, it 
		will make up for in enthusiasm --
			(He glares at Martha) 
		or I'll know the reason why!
 
	He smiles at the girls, and exits, dignified.

				JUDY
			(Utterly charmed) 
		Gee...no wonder we won the war!
 
	DISSOLVE TO:
 
62.	INT. DINING ROOM INN - (NIGHT) - MED. CLOSE SHOT -
	BETTY AND JUDY
 
	They are doing the number, SISTERS, on the floor.  THE
	CAMERA PULLS BACK to reveal the scene.  There is a
	scant audience distributed at several tables, totalling
	not more than fourteen in number.  Not far from the 
	kitchen entrance Bob and Phil are sitting at one table. 
	Martha is seen doing general overseeing, principally
	acting as hostess.  Susan doubles between the cashier's
	desk and helping out at table.
 
63.	MED. CLOSE SHOT - BOB AND PHIL
 
 	They are admiring the performance.  Phil indicates
	for Bob to look in this direction.  Bob does.
 
64.	REVERSE ANGLE - MED. SNOT
 
	The General is seating a table.
 
65.	MED. SHOT - BOB AND PHIL
 
	Bob shakes his head, unhappy at this condition.  They 
	look at each other.
 
				BOB 
		I think well stay a little 
		longer than we planned.
 
66.	MED. FULL SHOT - BETTY AND JUDY
 
 	They finish the number and are applauded enthusiastical-
	ly, but the few people in the audience don't make for
	much clatter.  One set of hands seems to be applauding
	loudest and clearest.
 
67.	MED. SHOT - GENERAL WAVERLY

	He is the one doing the enthusiastic applauding.  He 
	walks toward the boys, still applauding.  They applaud 
	too.  The girls enter the scene, to sit with the boys.
	Martha is only applauding politely, until Waverly
	glares at her.  Then her enthusiasm is boundless.
 
				WAVERLY 
		Excellent.  I enjoyed it very much.
 
				JUDY 
		Thank you.
 
				MARTHA
		It was nice, if you like music.

	A waitress brings food, which Martha helps distribute.
 
				BETTY
			(After a look that the 
			waitress is not in a 
			position to hear) 
		Mister Waverly, we'd like to make 
		you a proposition.
 
				WAVERLY 
			(Smiling) 
		Well, for heaven's sake!
 
				BETTY
		You've been very nice not cancelling,
		we'd like to make a gesture.  Until
		it snows, and you have guests, we'll
		take half salary.
 
				MARTHA 
			(Appreciative) 
		That's really nice of you.
			(She takes out pencil and
			her order book) 
		Now let's get that in writing.
 
				WAVERLY 
			(Pushing it aside)
		Never heard of anything so ridiculous. 
			(Gets up) 
		Your next performance is tomorrow
		night, after dinner.  Be here, or I'll
		sue!
 
	He dignifiedly walks in the direction of some depart-
	ing guests, and proceeds to show them to the door.
 
				MARTHA 
			(Annoyed) 
		Light-Horse Harry.  Advance, advance, 
		never retreat!  He's advancing right
		into bankruptcy.
 
				PHIL
		That's just the way he was in the army.
		Always thinking of the other fellow.
 
				BOB
		We ate and then he ate.  We slept, and
		then he slept.
 
				PHIL
		Then he woke up, and nobody slept 
		for the next forty-eight hours.
 
				MARTHA 
		I happen to know he's sunk his 
		life's savings into this place.
		I read the carbon paper.
 
				JUDY
		Gee, I wish there were something 
		we could do to help.
 
				BOB
		Maybe there is.
 
				PHIL
		You got a flash?
 
				BOB 
		A glimmer.  Have to stir it around
 		a bit.
 
				PHIL
			(To the girls)
		Shhh!
			(Indicating Bob, 
			tapping his forehead) 
		Ticking away madly.  Wheels within
		wheels.  This is the brain that, in
		darkest Italy, devised a formula to 
		make food out of K-Ration!  Shhhhhh!
 
	As he regards Bob with something akin to awe, we
 
	DISSOLVE TO:
 
68.	MED. SHOT - INT. LOBBY - (NIGHT)
 
	The last of the supper audience is leaving.  We see
	into a room which adjoins the reservation desk and
	Bob is on the phone.
 
69.	CLOSE SHOT - INT. INN OFFICE 

	Phil is sitting on the desk while Bob talks.
 
				BOB 
			(Into phone)
		Relax...I didn't ask you how 
		much it'll cost us... 
			(We hear an excited 
			high voice on the phone) 
		Easy, easy, remember your blood 
		pressure...I don't care how much
		it'll cost us... That's better... 
		Have everybody on the train first 
		thing in the morning.  The whole 
		Troupe, and the scenery, and the 
		costumes... You'll have to cancel 
		us off the Ed Harrison Show... 
		Oscar, remember your blood pressure. 
		Incidentally, how much will this cost? 
			(He hears some figure. 
			It obviously is a very 
			large number) 
		Good night, Oscar. 
			(He hangs up) 
		There you are.
 
				PHIL
		Incidentally, how much will this
		cost?
 
				BOB 
			(Clears his throat)
		We are coming out - even.
 
				PHIL
		You mean flat?
 
				BOB 
		That's the same as even.
 
				PHIL
		Wheels within wheels.  It's nice 
		how you take care of the money for 
		both of us because you're older and 
		so level headed.  I wonder where I'd 
		be now if hadn't saved your life?
 
				BOB 
		Do you want me to cancel the
		troupe coming?
 
				PHIL
			(Getting off the desk) 
		No, no.  Let's go through the 
		gesture.  If you had been on the 
		Titanic when it went down, you 
		wouldn't've been satisfied just 
		to sink into the ocean. 
			(Gesturing) 
		You'd have done a swan dive 
		into it.  With me on your
		back!
 
 	DISSOLVE TO:
 
70.	FULL SHOT - COLUMBIA INN FLOOR - (DAY)
 
	The scene is a melee of the excitement accompanying
	preparations for the show.  The little stage has been
	enlarged - the draperies pulled back right and left 
	and a side wall pushed back a little farther.  There 
	is hammering and painting going on in various parts
	of the room.  Trunks have been unpacked and wardrobe
	hung up in odd places, as more trunks arrive.  Girls 
	in abbreviated rehearsal clothes walk around, do 
	cartwheels; two people sing at the piano; six girls 
	kick in unison; altogether, it is quite a contrast 
	to the bareness of the previous scene.
 
	THE CAMERA TRUCKS through all the activity, taking 
	in our group at the doorway, which features Bob and
	Phil, the girls standing nearby.  Martha and Susan
	are amazed at the activity.
 
				MARTHA 
		I can't believe it!  You mean you 
		brought the whole show up here?
 
				BOB 
		When you hired the Stewart sisters 
		you also hired a New York show.  It 
		was in the small print.
 
				PHIL
		And you can't get out of it.  We've 
		got lawyers.
 
				SUSAN 
		I can't thank you enough, but I 
		wonder if Gramp'll let you do it?
 
				PHIL 
		Why not?
 
				MARTHA
		His pride.  When he decides he's
		going into bankruptcy he likes to go.
 
				BOB 
		Now just a second.  We're not 
		doing this for him!
 
				PHIL
		Oh no!  We're bringing the show
		down here to rehearse!
 
				BOB 
		The company's been getting a
 		little ragged.  We'd appreciate
 		the use of the hall.
 
				PHIL
		Of course we don't expect it free!
 
				BOB
		We'll pay a little, but not much.
		You see, the audience will be  
		guinea-pigs -- and for us, that's
		quite an improvement.
 
	This has not fooled Susan.  She throws her arms around
	Bob and then Phil.
 
				SUSAN 
		I don't know what to say!
 
	She cannot refrain from tears of gratitude and turns 
	and runs out.  There is a moment of silence.
 
				BOB 
		I hope this is not an indication 
		of advancing age, getting kissed 
		out of gratitude.
 
				PHIL
		You didn't expect a girl that 
		pretty to kiss you because she
		wanted to?
 
				BOB
		A body keeps hoping.
 
	Betty steps up to him and gives him the biggest smack. 
	Bob is quite surprised.
 
				BETTY
			(Sincerely)
		That was the nicest thing I ever 
		saw anybody do.
 
				BOB 
		It was still gratitude.
 
				PHIL
			(To Judy) 
		I'm his partner.  I'm entitled to 
		half the credit.
			(Judy steps up to him 
			and just pecks him on 
			the cheek, then joins 
			her sister in rehearsal) 
		She's not as grateful as her sister.
 
	They look off through the exit and see a moving van 
	unloading scenery, as the General arrives in his buggy. 
	He steps down and looks with amazement at the scenery 
	passing by. 

	DISSOLVE TO:
 
71.	EXT. INN - (DAY) - MED. CLOSE SHOT - WAVERLY, BOB AND
 	PHIL
 
	Waverly is looking interestedly at the goings on, but
	is puzzled.  The boys exchange a glance.
 
				WAVERLY 
			(Finally) 
		I'm not clear about some of it. 
		Explain it again.
 
				PHIL
			(Not too good a job) 
		Well, sir.  We have this show, and 
		we laid off for the holidays.  You 
		see, business was bad.
 
				WAVERLY 
		I know about business being bad. 
		Go on,
 
				PHIL
		Yes sir.  Well, so  we figured as 
		long as we had the opportunity we'd
		do a little rehearsing.  Right here.
 
				WAVERLY 
		Why here?
			(There is a hint here of 
			the General)
 
	Phil looks to Bob for help as they move toward the lobby. 
	The troupe is busy transporting the costumes, etc., 
	from the moving van to the dining room auditorium as 
	the above scene is played.
 
				BOB 
		Well, sir, this nice empty room.  
		The minute we looked at it we said
		it was ideal.  Didn't we?
 
				PHIL
		That's what we said.  Ideal.
 
				BOB
		And then we'll have an audience to 
		play to.  You see, sir, you need an 
		audience on which to try out your 
		new material.
 
				WAVERLY 
		Where are you going to get the 
		audience?
 
				PHIL
		Oh, what guests there are in the 
		other hotels. They're pretty bored 
		here without snow, and a New York 
		show's kind of a novelty in Vermont.
 
				WAVERLY
		I would think so.
			(He thinks) 
		How will they know you're here?
 
				BOB 
		Oh, word gets around.
 
				PHIL
		Yes sir, and we also took the girls 
		twice around the town for a little 
		run.  They were stiff from the train. 
		In their practice clothes.
 
				BOB 
		Makes the blood circulate,
 
				WAVERLY 
			(Hers no dope) 
		Hmm.  Whose blood?
 
 				BOB AND PHIL
		Yes sir.
 
				WAVERLY 
		Apparently there must be a lot about 
		show business I don't understand.
 
				PHIL
		It'll come to you, sir.
 
				BOB 
		It just takes time.
 
				PHIL
		We wouldn't be any good as generals.
 
				WAVERLY 
		You weren't any good as privates!
 
				PHIL
			(Pointing to Bob)
		He was an officer, sir.
 
				WAVERLY 
		Only to confuse the enemy.
 
	He turns away and goes to his quarters.
 
	DISSOLVE TO:
 
72.	MED. SHOT - INT. INN FLOOR - (DAY)
 
	The company is rehearsing as Bob and Phil enter.
 
				BOB 
		That's all for today, kids.
 
	People break off what they were doing and begin to 
	drift out. Bob and Phil have gone toward Betty and
	Judy.
 
				BOB
		Get a little rest before 
		tonight's performance.
 
				PHIL
			(To Judy) 
		I'll walk you over.
 
				BOB
		Phil!
			(He takes a sheet of music 
			out of his inside pocket)
		Look this over, I want to try 
		something.
 
				PHIL
			(To Judy) 
		See you later.
 
	The girls go.  Phil goes toward the piano, Bob goes
	toward Martha, who is on the phone, accepting reser-
	vations.
              
73-
74.	FULL SHOT - ROOM
 
	Bob takes Martha by the arm and seats her in the middle
	of the room as an audience of one.  Phil looks up from
	the piano, puzzled. The sunset is visible through the 
	window and there is a mood of quiet.
 
				MARTHA 
		Guinea pig?
 
				BOB 
			(Nodding)
		That's the idea. Want you to hear 
		a song I just wrote.
 
				MARTHA
		If it's a love song, don't get
		too close.

				BOB
		It isn't.  Just tell me how you think
 		the Old Man would feel about this one.
 
	He leaves her and goes to the piano and they do 
	WHAT CAN YOU DO WITH A GENERAL, solely for Martha.
	Toward the end of the song --
 
75.	MED. CLOSE SHOT - GENERAL WAVERLY
 
	Unseen by the others he is standing by the door 
	listening to the song.
 
76.	MED. SHOT - INT. ROOM
 
	The boys finish the number. Martha applauds and Bob bows.
 
				MARTHA
			(Very moved)
		I think it's just wonderful --
 
77.	CLOSE SHOT - SUSAN - AT KITCHEN DOOR

	She is standing there, drying her eyes with her apron.
 
				SUSAN
		I think so, too.
 
78.	CLOSE SHOT - WAVERLY - AT THE DOOR
 
				WAVERLY 
		I'm afraid I disagree. The song 
		is funny, but there is one thing
		wrong with it.
 
				PHIL'S VOICE
		What's that, sir?
 
				WAVERLY 
		It's true.  I'd rather you didn't.
 
79.	FULL SHOT - INT. INN FLOOR
 
	Bob and Phil exchange a quick glance.
 
				BOB AND PHIL
		Yes, sir.
 
	The General turns and exits toward the lobby, THE 
	CAMERA PANS with him, a lonely figure walking through
	the lobby, the CAMERA STOPPING on a poster advertising 
	tonight's performance.
 
	DISSOLVE TO:
 
80.	FULL SHOT - INT. INN FLOOR - (NIGHT)
 
	It is fairly-well filled.  Bob, Phil, Betty, Judy and 
	the ensemble are performing a NUMBER which is a 
	MINSTREL SHOW routine done to lyrics and music.  Bob 
	and Phil are end men, Betty is interlocutor, and Judy 
	is later introduced as Mandy.  This takes Judy and
	Phil into a dance to the song MANDY.  This entire
	number is done in white-face with stylized costumes 
	and set. During the applause and bows, we CUT TO:
 
81. 	MED. SHOT - WAVERLY TABLE
 
 	Waverly, flanked by Susan and Martha, is at a large
	table.  The other occupants are local hotel owners
	and their wives.
 
				FIRST OWNER
		Great show, Waverly.
 
				WAVERLY 
		Thank you.
 
				SECOND OWNER
		We needed something like this. 
		I had six checkouts, and when they
		heard about this they decided to
		stay.
 
				FIRST OWNER
 		Same here.
			(Big smile) 
		Much obliged.
 
				WAVERLY
		Glad to help.
 
 	Martha and Susan beam; all is well. 

				MORE NUMBER
 
	DISSOLVE TO:
 
82.	FULL SHOT - INT. INN FLOOR - (NIGHT)
 
	It is empty and most of the lights are out.  At a
	considerable distance from CAMERA Martha extinguishes 
	the last light, except for a small work light which 
	is servicing Bob, who is fingering the piano keys and 
	writing music notes, hard at work.
 
83.	FULL SHOT - GIRLS' BUNGALOW
 
	In the background we see the boys' bungalow.
 
84.	MED. SHOT - INT. GIRLS' BUNGALOW
  
	Betty and Judy are in twin beds, the light is coming
	in from the moon.  The girls are seen in profile.
 
				JUDY
			(Talkative)
		The moon!   I can't get over the
		moon up here.  The size of it!
 
				BETTY
			(In a quiet mood) 
		Same one they have all over.
 
				JUDY
		They'll never prove it to me. 
		And everything smells so beautiful. 
			(She breathes) 
		What is it - pine or fir?
 
				BETTY 
			(Small sniff) 
		We're near the bakery.
 
				JUDY
			(Friendly, not realizing 
			the stab) 
		You know your trouble, Betty? 
		You're not romantic.
 
	Betty turns and looks toward her.  Since Judy does
	not see her, Betty's expression is a true reflection
	of how she feels.
 
				JUDY (Cont'd)
		Everything's so wonderful here, so
		pretty, so exciting, I can't under-
		stand how you stay frozen up.  Let 
		yourself go, go, like me!
 
				BETTY 
			(Afraid to ask)
		Which one is it? 
 
				JUDY
		What do you mean?
 
				BETTY
		Bob or Phil? 
 
				JUDY
		Neither.
 
				BETTY  
		You mean both.
 
				JUDY
			(Smiling) 
		It's the same.  No one is going 
		to break up our act.
 
				BETTY
		Isn't there one you prefer over 
		the other?
 
				JUDY
		The way Phil dances, and he's funny. 
		It's easy to see yourself married to him.
 
				BETTY
			(An effort)
		And Bob?
 
				JUDY
		He's different, deeper, and he's
		funny, too.  It'd be nice to be
		married to both of them.
 
				BETTY
		Good thing they're not a quartette.
 
				JUDY 
			(Oblivious)
		If I was Catherine the Great, that's
		what I'd do.  Phil in the daytime,
		Bob at night. Or should it be the
		other way around?
 
85.	CLOSE SHOT - JUDY AND BETTY
 
 	SHOOTING PAST Betty.  Is it possible our Betty has 
	a suspicion of a tear?

				JUDY
 		Phil'd be more fun in a night club, 
		but eventually a girl wants a pipe 
		and slipper fellow.  That's Bob, 
		smoking a pipe and petting a cocker 
		spaniel.  Still, Phil could learn to 
		smoke a pipe.  Breaking a fellow in
		to suit you is something every girl
		should go through.  I hear it's half 
		the fun.  Which one do you like better? 
		Betty?
			(No answer.) 
		Betty? 
			(Softer) 
		Are you asleep?
			(No answer.  Judy turns
			over and closes her eyes)
  
	Music has underscored this scene.  Betty is wide awake. 
	She is looking toward the window.  As the curtains
	billow outward we see a diffused figure of Bob, sitting 
	on a fence, putting out his pipe.  This is followed by 
	an equally diffused figure of Betty, leaving her bed,
	crossing the furniture, and joining Bob.  Bob takes her 
	in his arms.  At this point we are brought back to
	reality by the wind slamming a shutter.  This causes 
	the diffusion to vanish, and Betty gets out of bed and 
	puts on her robe.
 
	DISSOLVE TO:
 
86.	INT. INN KITCHEN - MED. SHOT - (NIGHT)
 
	We PAN Betty to the refrigerator door, which she opens.
 
				BOB'S VOICE 
		Tuna fish, on the lower shelf.
 
	Betty whirls around. 

87.	MED. SHOT - BETTY AND BOB 

	We see Bob is having a snack of his own.
 
				BETTY
 		Oh!

				BOB 
		What are you doing?  Sleep-walking?
 
				BETTY
		I couldn't sleep.

				BOB
 		Little young for that, aren't you?
 
 	He gets up and goes to the refrigerator.  His preoccu-
	pation with the food will permit Betty's expression to 
	be more obvious than her lines, which are spoken to
	tell the audience of her regard for Bob,  since their
	significance must escape him.
 
				BOB 
		What shall I make you?
 
				BETTY
		Anything'll do.
 
				BOB 
		If you tell me what you want to 
		dream about I'll know what to 
		make you.
 
				BETTY
			(Amused) 
		How's that?
 
				BOB
		Different foods make for different
		dreams.  I've got a whole theory
		about it.  It's called "The Wallace 
		Way of Wishful Wooing." You'll find
		it in the American Medical Journal 
		under 'W'.  Ham and Swiss cheese, for 
		instance, you get a cool, thin, blonde 
		girl.  Turkey sandwich, you get a dark 
		sort of stumpy girl, sexy though.  Now 
		a liverwurst sandwich -
			(He shakes his head)
 		you get both girls at once.  Bad night.
 
				BETTY
		What do you dream on tuna?
 
				BOB 
		Darndest thing, I dream about me.
 
				BETTY
			(Evenly) 
		Then I'll have a tuna sandwich.
 
	Bob doesn't get the significance of what she has said,
 
				BOB 
		Now that's very flattering.  Tuna
		coming up.
			(He is occupied at the
			frigidaire while she
			watches him yearningly) 
		Let me make you some warm milk. 
		That'll help the insomnia,
 
				BETTY
			(Meaningly)
		No it won't. 
			(Looking straight at 
			his back)
		Warm milk won't do it.
 
				BOB
		Whatever you've got on your mind 
		isn't worth staying awake for.
 
				BETTY
		I think it is.
 
	He smiles at her, oblivious to the meaning behind her 
	lines.
 
				BOB 
		Would you like to know how I handle 
		a situation like that....?
 
				BETTY
		Tell me, Doctor..
 
	Bob begins to sing COUNT YOUR BLESSINGS, as he prepares 
	the warm milk and hands it to her.  She drinks it 
	down.  As he reaches the second chorus, he starts to
	dim the lamp on the table,  Betty, pretending to be
	sleepy, leans her head toward Bob.  He takes a pillow 
	from a nearby chair and puts it between her head and 
	her chair.  She waits, eyes closed, expectantly.  But 
	Bob gets to his feet, and carefully tiptoes to the 
	door and exits, closing it softly behind him.  After 
	a moment, Betty snaps on the light, throws the pillow 
	on the floor, and rests her chin in her hand, dis-
	appointed and wide awake.
 
	FADE OUT.
 
	FADE IN:
 
88.	LONG SHOT - INT. INN FLOOR - (DAY)
 
	Various members of the company are in rehearsal clothes 
	and sitting around the room.  The orchestra is playing 
	the introduction to Phil's number, which will employ 
	a line of six girls who are just coming on the floor.
	Bob is on stage supervising the rehearsal.  Judy is 
	standing across from the piano.  Betty is seated on
	the sidelines with her legs stretched over two chairs.
	She is knitting a loud colored argyle sock.  Phil,
	standing close by, has just finished rolling up a ball
	of yarn.  He looks at Betty's knitting, then at his
	feet.
 
				PHIL
		Don't make them too tight.  I 
		wear size 12.
 
				BOB 
		All right kids!  Places!  Let's 
		get going! Phil, you're on!

	Phil reacts.
 
	Bob crosses to his stage manager station, which is 
	a desk and high chair, where Albert is seated, not 
	far from his wife, Sylvia, who is sipping a glass 
	of water.  Albert holds a stop watch and evidently 
	helps in the administration.
 
				BOB 
			(To Albert) 
		How long are we so far?
 
				ALBERT 
		An hour and ten minutes.
 
				BOB 
		Something has to come out.
 
	From his position, Phil, in a series of leaps and 
	turns, reaches center floor and begins his solo.
 
89.	CLOSE SHOT - BETTY
 
	She continues knitting while watching Phil dancing. 
	As Phil comes to a portion where he speeds up his 
	steps she unconsciously speeds up her knitting, 
	Bob has seen her, and he looks from her knitting 
	and her look of admiration, which he mistakes for 
	affection, and then looks from the socks to Phil's 
	feet.  At the end of the number, which is applauded 
	by the witnesses, Judy runs to Phil and hugs and 
	kisses him, THE CAMERA STAYING at this distance. 
	Bob, looking at Betty, mistakenly sees her disappoint-
	ment.
 
				BOB
		All right, places for the next
		number!
			(He turns to Sylvia) 
		You're next, Sylvia.
			(Sylvia and Albert 
			exchange peculiar 
			glances,  Bob senses
			it)
		What's the trouble?
 
				ALBERT
		Mr. Wallace -
			(He is embarrassed 
			to go on)
 
				BOB 
		Come on, out with it.
 
				ALBERT 
		I don't think Sylvia ought to 
		go on, unless you cut out the 
		high kicks and let her do some 
		easy waltzes.  Very easy waltzes.
 
	Bob looks from one to the other and their smiling shy-
	ness indicates pregnancy.
 
				BOB 
		You're kidding!
 
				SYLVIA 
		We don't want anyone else to know.
 
				ALBERT
		Please don't mention it. 
			(The orchestra starts to
 			play ROCKABYE BABY. 
			Sylvia and Albert are 
			startled) 
		For heaven's sake!
 
				SYLVIA 
		How did they know?
 
 	The girls start crowding around.
 
				GIRLS
			(Ad libbing)
		You wouldn't tell us, would 
		you?  We had to find out 
		ourselves, etc.
 			(Phil and Judy are 
			among the group)
 
				MARTHA
			(Formally)
		There will be a celebration 
		of the forthcoming event to-
		night after the show! 
			(Everyone approves)
 
90.	MED. SHOT - BOB, PHIL AND ALBERT
 
		Phil puts his arm around Albert.
 
				PHIL
		Obviously you're going to 
		call the boy after me!
 
				BOB 
		After you?  I hired Sylvia! 
		The baby'll be named after me!
 
				PHIL
		I've been dancing with her! 
		That's more important!  The 
		baby'll be named after me!
 
				BOB 
		The hiring was more important!
		After me!
 
				PHIL
		The dancing was more important! 
		After me!
 
				ALBERT 
		I'm her husband. 
			(Small pause) 
		The baby'll be named after me.
 
				BOB 
		Well, we're going to need 
		another dancer!
 
				PHIL
		How about Judy, she knows all 
		the routines, she could pick
		it up in no time.
 
	They walk to the table where the coffee is, and the 
	group now includes Betty.
 
				BOB 
		On the other hand, it's all right 
		if we lose a number, we're running 
		too long now.  We have to cut
		somewhere.
 
				BETTY
		Wouldn't it be better if you cut 
		my solo number?  I've never 
		felt right in it anyway. 
			(Indicating Phil) 
		The show needs every bit of his 
		dancing.
 
				BOB 
			(Interpreting this as 
			mere selflessness for
			love)
		Well -
 
				BETTY 
		There you are - painless.
 
	She turns away rather abruptly, since she is becoming 
	emotional.  Bob shakes his head, impressed with what 
	he thinks is her devotion.
 
91.	MED. CLOSE TWO SHOT - BOB AND PHIL
 
	Bob dunks a doughnut into his coffee as he looks after
	Betty.  He looks at Phil and shakes his head.
 
				BOB 
		Greater love hath no woman than 
		to give up a solo number.  Old
		Chinese saying.
 
				PHIL
			(All this is beyond him) 
		What are you talking about?
 
				BOB 
		Drink your coffee.
 
	DISSOLVE TO:
 
92.	FULL SHOT - WAVERLY QUARTERS - (NIGHT)
 
	This is the party later that evening.  Some people are
	dancing.  Others are grouped about, and there is a 
	general home party atmosphere.  The General, Martha
	and Susan are seen helping everyone to feel at home. 
	The CAMERA STARTS ON A LONG SHOT and DOLLIES THROUGH 
	THE GROUP, passing Sylvia, where ad lib comments about 
	the impending baby are sketchily HEARD.  The CAMERA 
	CONTINUES toward the piano, where Bob and Betty are 
	examining the music sheet of A MAN CHASES A GIRL. 
	Betty looks up and the CAMERA FOLLOWS her look to Phil, 
	who is dancing with Rita.  Rita nestles up close to 
	Phil.  This is seen by Bob and Betty.  Bob smiles.
 
93. 	CLOSE SHOT - PHIL AND RITA 

	On closer view, we can see that Rita is the aggressor.
 
				PHIL
			(Referring to the grip) 
		Don't you want me to breathe?
 
				RITA
		Not especially.
 
				PHIL
		What's gotten into you?
 
				RITA
		You were chasing me in Florida.
 
				PHIL
		And you were running.  What made
		you stop?
 
				RITA
		You're interested in Judy, aren't 
		you?
 
				PHIL
		That's it, eh?  Unless it belongs 
		to someone else, a girl doesn't -
		Ouch!
			(Evidently Rita has
			deliberately stepped
			on his instep)
 
94.	SCENE FROM BOB'S VIEWPOINT
 
 	Betty is walking over to the dancing couple and de-
	liberately cuts in on Rita, who is displeased, but
	can do nothing but yield.  Bob's reaction still
	implies that this is understandable since Betty 
	loves Phil.  He turns back toward the piano, and 
	other couples are between him and Betty and Phil. 
	Still at the same camera distance, we see Betty 
	turning Phil over to Judy.
 
95.	CLOSE SHOT - PHIL AND JUDY
 
	Judy is a little cool.
 
				PHIL
		What's the matter?
 
				JUDY 
		Nothing is the matter.
 
				PHIL
		This isn't the way you dance.

				JUDY
 		Some people dance closer than others.
 
	Phil is delighted that she is jealous.
 
				PHIL
		Yes, that's true.  I'm one of the 
		close ones.  That's my type.
 
	He holds her closely, by force, dancing, smiling and 
	pleased with himself.
 
96.	MED. FULL SHOT - ROOM
 
	The dance music stops.  The people disperse.
 
97.	MED. CLOSE SHOT - AT PIANO
 
	Harry, the piano player, is playing the last half of
	A MAN CHASES A GIRL.  Bob and Betty are leaning over 
	the piano, Bob humming the melody.  Betty pantomimes 
	to the others to quiet down.  Bob starts to sing the 
	lyric.  In the second chorus, he is joined in the 
	singing by Betty.  During this chorus we CUT TO show 
	various reactions of the group, and end on Phil, 
	sitting close to Judy, holding her hand.
 
98.	CLOSE TWO SHOT - PHIL AND JUDY
 
 	We HEAR Bob and Betty, off scene, continuing to the 
	end of the second chorus, on which Phil, sotto voce, 
	sings the last four bars.
 
				PHIL
			(Singing; looking at Judy) 
		And once you've caught him 
		Don't ever let him go.
 
	APPLAUSE follows the song.  Phil gets up.
 
				PHIL (Cont'd) 
		Ladies and gentlemen, I would 
		like to make an announcement.
 
99.	FULL SHOT - CROWD 

	Everyone quiets, waiting to hear the announcement.
 
				PHIL
		It is my pleasure to identify 
		the man who has been doing the 
		chasing.  I am him! - Or he! - 
 		Or it!  Anyway, Judy has caught
		me.  What I'm trying to say is,
		we're engaged.
 
	He looks fondly at Judy, taking it for granted she 
	is overwhelmed at this method of announcing to her 
	that he is going to marry her.  He hugs her amidst a 
	general reaction of congratulations.
 
100.	MED. SHOT - BOB 

	He is flabbergasted.
 
101.	MED. SHOT - GROUP
 
	Phil and Judy are separated by the congratulators. 
	Betty, hiding her emotion, grips Phil's arm.
 
				BETTY
		I hope you realize that you're 
		getting he most wonderful girl 
		in the world.
 
	Bob sees her emotion through the speech.  Betty
	notices Judy upset, shaking off the people around 
	her and running through the doorway to the kitchen.
	Betty makes her way through the crowd to follow her, 
	as the orchestra goes into HER COMES THE BRIDE.
 
102.	MED. SHOT - INT. KITCHEN
 
	Judy is crying into her hands as Betty enters.
 
				BETTY
		Darling, don't cry.
 
				JUDY
			(Turning to her) 
		I didn't know he was going to 
		make that announcement, I swear 
		I didn't.
 
	Betty puts one arm around her.
 
				BETTY 
		I know you didn't.
 
				JUDY
		He had no right to do that.
 
				BETTY
		You do love him, don't you?
 
				JUDY 
		That doesn't matter.

				BETTY
 		Nothing else matters.
 
				JUDY
		We're not going to break up our act.
 
	Phil enters the kitchen.
 
				PHIL
		I've been looking for you, Judy.
 
				BETTY
		Excuse me.
 
	She goes through the corridor toward the living room.
 
103.	MED. CLOSE SHOT - CORRIDOR OFF BUTLER'S PANTRY
 
	In the background we see the General in the butler's
	pantry getting some drinks for the guests.  He is not
	seen by Betty who stops at the mirror in the corridor 
	to wipe away a few tears.  Bob comes into view in the 
	mirror, entering the corridor from the living room.
 
				BOB 
		Don't take this too much to 
		heart.  Phil is a great kid 
		but constancy isn't his long
		suit.
 
				BETTY
		I'm not the least bit worried.
			(Phil and Judy enter
			from the kitchen) 
		Frankly, this couldn't come at 
		a better time.  They want me to 
		come back to The Carousel 
		again - I used to sing there 
		before Judy and I teamed up -
		and I had to turn it down 
		because they can only use a 
		single.
			(Not too well)
		So - this couldn't be more
 		convenient.  You stay with the
		show and I'll go back to The
		Carousel.
 
				JUDY
		When did you get this offer?
 
				BETTY
		Just today, as a matter of fact.
		I got a telegram.
 
				JUDY 
		Why didn't you mention it before?
 
				BETTY
		I didn't want to hurt your feelings.
 
				JUDY 
		Where is the telegram?
 
				BETTY
		I threw it away.  What is this, a 
		third degree?  You don't think I 
		made it up?
 
				JUDY 
		Yes, I do.
 
	There is a pause, and Waverly, who has been watching 
	each one, speaks.
 
				WAVERLY 
		Well now, I wouldn't bet any large 
		sum of money on that, since I took 
		the message over the telephone, and 
		I had to deliver the telegram. 
			(To take the tension off) 
		And she didn't tip me, either.
 
	Betty looks at him gratefully.
 
				JUDY
		Oh, Betty! 
			(She throws her arms 
			around her)
		I'm sorry!  I misunderstood!
 
				BETTY
		Now, baby!  It's all right!
 
				PHIL
		Well, everything's fine now!
 
	Happy, he beams at Judy.
 
104. 	MED. CLOSE SHOT - BOB AND WAVERLY

	Something bothers Bob about this story.  He looks 
	searchingly at Betty, puzzled.  He does not notice
	Waverly, who watches him watching Betty.

	SLOW DISSOLVE TO:

105.	LONG SHOT - RAILROAD STATION - DAY
 
	Train about to leave.  The General is in the foreground
	sitting in the buggy.  Betty is saying goodbye to him.
	Bob and the porter are taking care of her luggage.
 
				GENERAL
			(Shouting over noise
			of train) 
		Where are you going to be?
 
				BETTY
		The Carousel.
 
	The General looks at her, questioningly.
 
				BETTY
			(Whispering, during a 
			lull in the noise) 
		I sent them a telegram this morning.
 
 	The General smiles; Betty waves a farewell to him and 
	crosses to the train, starting up the steps.  The 
	notion behind this scene is to be able to hear only 
	intermittent dialogue due to the whistle, bells, and 
	escaping steam.  The manner of playing, though,
	indicates the sentiment.  To emphasize it: Bob is
	fonder of Betty than he realizes, and Betty fully 
	realizes how fond she is of him but that he does not 
	return, consciously, her affection.  We hear Betty:
 
				BETTY
		Take care of my little sister.
 
				BOB
		She can take care of herself.
		Worry about the menfolk.  Now
		don't forget to write.
 
				BETTY
		I'll send you picture postcards.
 
	Not all of this is heard, since the sound effects 
	pick their spots, but the attention is on the 
	General, who is watching the scene with a whimsical
 	look.  He, as does the audience, realizes Bob's true
 	feelings.  As the train starts to leave, Betty and
 	Bob shake hands.  She holds his handshake a little
 	longer than necessary, and Bob is forced to move 
	along with the train.  Finally she releases him, 
	and Bob looks after the train, puzzled.
 
106.	REVERSE ANGLE

	THE CAMERA is now on the train platform, Bob out of
 	sight.  Betty wipes away a tear.  In the background
 	we see the General in the buggy noticing this.
 
107.	MED. LONG SHOT - TRAIN IN DISTANCE
 
	Bob is in the foreground, the General in the back-
	ground.  Bob joins the General at the buggy.  From
	Waverly's expression we can see that he has decided
	on a plan of action.
 
				WAVERLY 
		Must be interesting to be a woman.
 
				BOB 
		The idea's never occurred to me,
		sir.
 
				WAVERLY 
		Well, think about it.
 			(Bob is thinking about it)
		Well?
 
				BOB 
		Not interested!
 
				WAVERLY
		A man like you must be an
		expert on women.
 
				BOB 
		It's a little immodest to say so, 
		but I consider myself an authority 
		on the fair sex,  I've made a study
		of the subject.  They're simple
		creatures.
 
				WAVERLY 
		They couldn't fool you?
 
				BOB 
		I'm single.
 
				WAVERLY 
		'Pride goeth before a fall.'
 
				BOB 
		'Who knows his own strength is 
		twice armed.'
 
				WAVERLY 
		It's always a pleasure to meet
		an expert in any field.  Tell me,
		why do you think Betty went to 
		New York?
 
				BOB 
			(Not willing to admit it) 
		She has a job in The Carousel.
 
				WAVERLY 
		Expert, you're wrong!  She went 
		to New York because she's so in 
		love with someone here she just 
		couldn't stand it.
 
				BOB
		Phil.
			(A mixture of resent-
			ment and frustration) 
		I'm darned if I can figure out
		why.
 
				WAVERLY 
		I thought you were an expert on 
		women. 
			(To the horse) 
		Come on, Delilah!
 
	DISSOLVE TO:
 
108.	CLOSE SHOT - CHRISTMAS TREE ANGEL - DAY
 
	THE CAMERA PANS DOWN from the ceiling and we see 
	that THE INN is being decorated for Christmas Eve. 
	Everybody is so engaged, except those actively
	helping Phil and Judy rehearse.  The attitude is
	slightly cool on Judy's part, but it is lover's 
	coolness.
 
				PHIL
			(Fitting the action) 
		Good, Judy.
			(During the dancing) 
		Now the same as the middle part.
 
	They make a nice couple, with his arm around her 
	waist, dancing as one.
 
109.	REVERSE ANGLE - BOB
 
	He enters the room, and watches.  He looks intently 
	at Phil.  Phil and Judy dance closer to Bob. They 
	see him. They continue dancing, talking as they do.
 
				PHIL
		Betty get off all right?
 
				BOB 
			(Slightly belligerent)
		Certainly.
 
				JUDY
		Betty left something for you. 
		She said to give it to you after
		she left.  It's on the piano.
 
	Bob hears, nods, but keeps staring at Phil.  Phil 
	becomes conscious of the staring.
 
				PHIL
		What's the matter?
 
				BOB
		I don't get it.
 
				PHIL
		Don't get what?
 
				BOB
		I just don't see it.  You' re
		skinny, you got a big nose, and 
		you squint.
 
				PHIL
		Who?  Me?
 
				BOB 
		Yes, you!  Nothing personal though.
 
				PHIL
		No, of course not.
 
				BOB 
		I'm just trying to figure out 
		what anyone sees in you.
 
				PHIL 
		Well, stop worrying about it. 
		When I ask you for a date just 
		turn me down.  Come on, Judy.
 
	They dance away.  Bob crosses to the piano and picks 
	up the package Betty left for him.  He opens it up 
	and it is a single knitted sock, the one she knitted 
	on previously.  He looks through the box for its mate. 
	There is none.  The CAMERA MOVES CLOSER to Bob, puzzled.
 
	DISSOLVE TO:
 
110.	CLOSE SHOT - BLACKBOARD - (DAY)

	Painted at the top is the legend:
 
				WEATHER FORECAST
 
	At the moment a hand is completing, in chalk:
 
				No Snow
 
	After a moment, the hand returns and draws two lines 
	through the "S" so that it now reads,
 
				No $now
 
	CAMERA PULLS BACK to reveal we are on:
 
111.	EXT. PINE TREE POST OFFICE - FULL SHOT
 
	Bob comes out of the Post Office and mounts a bicycle. 
	He cycles down the street, whistling A MAN CHASES 
	A GIRL.
 
 	DISSOLVE TO:
 
112.	SECTION OF VILLAGE - HORSESHOE PITCHING GROUNDS -
	MED. SHOT - (DAY)
 
	There is a group of elderly men, among them the hotel 
	owners, pitching horseshoes. Waverly is sitting on a 
	bench, ruefully looking at the sign.
 
				FIRST HOTEL OWNER 
			(Starting a new game) 
		How about it, Waverly, want to play?
 
				WAVERLY 
			(Looking at him a moment) 
		I'm too young for that sort of thing.
 
	First Owner laughs goodnaturedly and continues playing. 
	Bob rides into the scene and dismounts.
 
113.	MED. SHOT - BOB AND WAVERLY

	Bob sits into the shot.
 
				WAVERLY 
		Kind of warm for that kind of 
		exercise, isn't it?
 
				BOB 
			(Trying to help) 
		It isn't very warm.
			(He looks to the sky)
		I think the weatherman's wrong
		about his forecast.  Those look
		like snow clouds to me.
 
				WAVERLY 
			(Without looking up) 
		They're cumulus clouds, at an
		elevation of seven thousand feet.
 
				BOB 
		Yes, sir.
			(Still trying) 
		Still, weather's a funny thing. 
		It could snow - overnight.
 
				WAVERLY 
			(He thinks a moment) 
		I'll tell you something I haven't
		told my family.  I'm going back
		in the Army.
 
				BOB 
		Really, sir? That's great news! 
 
				WAVERLY 
		Yes.  I miss the Army.
 
				BOB 
		Where are you going to be sent,
		sir?

				WAVERLY 
		Well, I'm not sure yet.  I've 
		always been a combat officer, 
		but I got an idea they're going 
		to try and palm off one of the 
		training commands on me.  They'd 
		better not.  They just better not. 
			(He's worked up now) 
		I'm not ready for pitching horse-
		shoes yet.
			(He smiles) 
		Now nothing to the women folk 
		about this!
 
				BOB 
		No, sir.
 
				WAVERLY 
		Let's mosey over to the post office, 
		I'm expecting a letter any day.
 
				BOB 
			(Remembering)
  		Oh, I beg your pardon, sir. 
			(He pulls the letter 
			out of his pocket) 
		That's what I came over to give 
		you, it slipped my mind.
 
	The General takes the letter, he looks at it front 
	and back.
 
				WAVERLY
			(Solemn) 
		This is the one.
 			(He opens it,  He squints. 
			He looks to Bob) 
		My glasses are in my room.  I'd 
		like to read it by myself, but 
		I'm a little anxious.
			(He smiles at his own 
			predicament) 
		Read it, son.  Slowly.
 
				BOB 
			(Reading)
		Dear Tom:
 		Why, you dirty, old -
			(He stops)
 
 				WAVERLY
			(Pleased)
		Skip that word.
 
				BOB 
		Yes, sir.
			(Continuing) 
		It certainly was a surprise hearing 
		from you.  Your amusing letter was 
		appreciated more than you imagine.
		Of course you've got plenty of time 
		to be amusing, sitting on that porch, 
		rocking away, while we put in a full
		day's work.  You always were a lucky
		stiff, and I envy you.  A few years
		more, I was saying to Emmy the other 
		evening, and I'm going to be able to 
		take it easy like old Tom.
 
				WAVERLY 
			(Just repeats)
		Old Tom.
 
				BOB 
		Oh, well, some people have all the 
		luck.  Everyone in the family is fine 
		here.  Carol had the mumps, which is 
		no joke at eleven years of age -
 
				WAVERLY 
		The rest of the letter is about the 
		family.
			(Bob looks at him, and
			then glances at the
			rest to see if it is so) 
		He's telling me they have nothing for 
		me, we're not fooling each other.
			(He holds has hand out) 
		Thank you.
			(Bob gives him his letter. 
			There is a pause.  An 
			attempt at being light) 
		Say, it couldn't be hard to learn 
		to pitch horseshoes.  Now could it?
 
				BOB 
			(Trapped, unhappy for him) 
		No sir.
			(His nerve up)
		Begging your pardon, sir, there's a
		lot to be said for leisure.  You're
		not used to it, you've always been
		active, but in time -
 
	He stops, seeing Waverly's expression.  Waverly winks
 	at him.
	
				WAVERLY 
			(Quietly)
 		Never kid a kidder.  Go on back
 		to the hotel.
 
				BOB 
		Yes sir.
 
	Waverly gets up to join the horseshoe players after 
	all.  Bob watches this reflectively as we 

	FADE OUT. 

	FADE IN:
 
114. 	MED. SHOT - (DAY) - INT. HOTEL ROOM - BOB AND PHIL 

	Bob is packing his valise, Phil helping him.
 
				PHIL
		Judy thinks my eyes are soulful. 
		Do you think my eyes are soulful?
 
				BOB 
		One of them is.

				PHIL
 		You have no poetry in you.  It's
 		about time you went in for girls, 
		too.  After all, you haven't many 
		years left for that sort of thing.
 
	Bob, his back turned to Phil, comes across the sock 
	Betty knitted for him; he hastily shoves it into the
	bottom of has bag.
 
				BOB 
			(Over above)
		I'm the quiet type.  Little do you
 		know what's aged me.
 
				PHIL
		Wheels within wheels, eh?  Well, 
		live it up, Pops.  Eat, drink and 
		be merry -- is that why you're 
		leaving for New York?
 
				BOB 
		I told you what I'm seein' Ed Harrison
		about.  That's all.
 
				PHIL
		Business, business.  Glad to be rid
		of you.  You're not in the girly mood.
 
				BOB 
			(Easily annoyed at the 
			moment)
		What do you know about girls?  You
		wouldn't know what to do with a girl 
		if she fell on you!
 
				PHIL
		Well, I'd know enough not to get up.
 
	There is a KNOCK at the door and Martha sticks her 
	head in.
 
				MARTHA 
		Mr. Wallace -- gonna miss your 
		train!
 
				PHIL
			(To Bob) 
		For her I'd get up.
 
	As Bob slams his suitcase shut,
 
	DISSOLVE TO:

114A.	EXT. CAROUSEL CLUB - MED. CLOSE - (DAY)
 
	A poster outside advertises the appearance of Betty 
	Stewart.  MUSIC is heard emanating from the club.
 
	DISSOLVE THROUGH TO:
 
115.	INT. CAROUSEL CLUB - MED. SHOT - (DAY)
 
	A rehearsal is in progress in the deserted club.  The 
	chairs are up on the tables, musicians in their shirt 
	sleeves, as Betty SINGS a chorus of LOVE, YOU DIDN'T 
	DO RIGHT BY ME.  As she finishes, the orchestra LEADER 
	turns to her.
 
				LEADER 
		Betty - You really live that number.
 
				BETTY
		The story of my life.
 
				LEADER 
		Shall we try it over again?
 
				BETTY
			(Meaningly) 
		I wish I could.
 
	DISSOLVE TO:
 
116.	INT. CAROUSEL CLUB - MED. SHOT - (NIGHT)
 
	It is alive with customers; couples are dancing on the
	floor, as a number ends.  Bob enters, and is conducted
	to a ringside table by a maitre d'.
 
				BOB 
		I'm expecting Ed Harrison.
 
				MAITRE D' 
		Very well, Mr. Wallace.
 
116A.	STAGE - MED. CLOSE
 
	Betty is standing at the microphone ready to sing.
	She sees Bob.  The Leader raises his baton.
 
				BETTY
			(Stopping him, sotto) 
		Let's not do the new number.
 
				LEADER 
		What?

				BETTY
 		Play "Blue Skies" -- anything.
 
				LEADER
		Relax.  Just do it the way you
		sang it this afternoon --
		you'll be great.
 
	He gives the downbeat, and Betty has no choice but to
	sing LOVE, YOU DIDN'T DO RIGHT BY ME.  She is assisted
	in the second chorus by a vocal group.
 
117.	CLUB - MED. SHOT
 
	as Bob watches her.  When she finishes the number, 
	Betty steps down from the platform and joins Bob.
 
				BETTY
			(As Bob holds the chair)
		Well, surprise.  What brought 
		you to the big city?  And don't
		say 'a train.' 
			(Forced gaiety, 
			hiding her tension)
 
				BOB 
		I never heard you sing that 
		well.  That's a good number 
		for you.
 
				BETTY
			(Her own significance) 
		Some numbers suit you better
 		than others.  What are you
 		doing here?
 
				BOB
		Business, business.  Meeting
		a fellow here.
 
				BETTY
		Judy all right?
 
				BOB 
		She's fine.  Couldn't be better. 
			(Carefully) 
		Playing footsie with Phil.
 
 				BETTY
		That's nice.
 
				BOB 
		I think they like each other.
 
 				BETTY
		I do, too.
 
				BOB 
			(Eyeing her)
		They're kind of suited, in 
		a lot of ways.
 
				BETTY
		Some people are.
 
				BOB 
		Thanks for the knitted sock.
 
				BETTY
		Don't mention it.
 
				BOB 
		I thought it was for Phil.
 
				BETTY
			(Evenly) 
		If the sock fits, wear it.
 
				BOB 
			(Unsure of her meaning) 
		It started out for Phil.
 
				BETTY
		It just started out as a sock.
 
	Every line of the sock exchange should have the mean-
	ing of the love implications.
 
				BOB 
		You're a very odd girl.
 
				BETTY
		You're a very odd fellow.
 
	Bob is close to declaring himself, if he was only 
	sure of his ground.
 
				BOB
		Two feet, one sock.  I must be.
 
				BETTY
		I'll get around to the other 
		one, eventually.
 
				BOB 
		You mean to do any knitting in 
		the near future?
 
				BETTY
		The feeling comes and goes.
 
				BOB 
		Think if the model hung around 
		for a while... the feeling might 
		be more permanent?
 
				BETTY
		Maybe.
 
	Bob leans over and takes her hand.
 
				BOB 
		What's this maybe, shmaybe,
 		comes and goes?  Friends tell
 		me I don't have many years left 
		for this sort of thing... 
		I ought to know right now if --
 
	He is interrupted by ED HARRISON, who has been brought 
	to the table by the maitre d'.
 
				ED 
		Bob!  How are you?
 
				BOB
		Hiya, Ed.
 
				ED 
			(He knows Betty)
		Betty.
 
	She nods, as Ed sits down.
 
				ED 
			(To Bob)
		Now what's this big deal you wanted 
		to discuss?  I shouldn't even talk to 
		you after cancelling out on my show.
 
				BOB 
			(Carefully) 
		Ed, I saw the old man.
 
				ED
		Waverly?  Where, in the Pentagon?
 
				BOB
		Pentagon, nothing.  He owns a little
		hotel in a winter resort in Vermont.
 
				ED 
		Our old man?
 
				BOB 
		Nobody even knows who he is.
 
				BETTY 
		He's too proud to let them know he's 
		General Waverly.
 
	Ed looks at her, surprised.
 
				ED 
			(To Bob, indicating Betty) 
		Was she in our outfit, too?
 
				BOB
		Vermont branch.
 
				ED 
		What are we going to do about it? 
		You got a flash?
 
				BOB
		A glimmer.
 
				ED 
		Got to stir it around a little?
 
				BOB
		All stirred.  Remember how Old
		Flintbottom always used to find 
		a way to keep our morale up... 
		without telling us?  It's about 
		time we returned the favor.  Let's 
		surprise him with a real big bang-up 
		reunion.
 
				ED 
		Now you're talking!  How do we
		spread the word?
 
	Bob takes a piece of paper out of his inside pocket 
	and hands it to Ed.
 
				BOB 
		You're gonna read this little 
		speech on your television show. 
		People look at it, don't they?
 
				ED 
			(Scanning the paper) 
		Now's as good a time as any to find 
		out.

	As he continues to read the piece of paper, we
 
 	DISSOLVE TO:
 
118.	MED. CLOSE SHOT -  INT. COLUMBIA INN LOBBY - PHIL
	IN PHONE BOOTH - (NIGHT)

	Phil is excited.
 
				PHIL
		Bob, just leave it to me!  He
		won't get near a set if I have to 
		break a leg...Goodbye, Bob!
 
	He opens the door of the booth and hurries across the 
	lobby toward Susan, who is at the desk, and BANGS on
	the bell, which is on the counter.  Martha comes run-
	ning from the kitchen.
 
				PHIL
			(Excitedly)
		Now everybody pay close attention.
 
	DISSOLVE TO:
 
119.	MED. CLOSE SHOT - INT. TELEVISION STATION - (NIGHT) 

	Ed is about to go on the air.  Bob is opposite him, 
	out of camera range,  The technical crew are watching
	the hand of the dial approaching 60.
 
				ED 
		I hope Phil has been able to keep 
		the old man away from a television 
		set.
 
				BOB 
		He has.  In anything involving some-
		thing crooked he's dependable.
 
120.	MED. CLOSE SHOT - INT. LOBBY COLUMBIA INN 
 
	Seated around the television set are Waverly, Martha
	and Susan.  Martha and Susan look at their watches 
	and each other, nervously.  Waverly also looks at his
	watch.
 
				WAVERLY 
		Ed Harrison will be on in a half 
		minute.  I like him.  I never miss 
		him.
 
	The women are becoming very nervous.  Suddenly we HEAR 
	off scene the most tremendous clatter dorm the stair-
	way and Phil's shouting.
 
				PHIL
		Ow!  Ow!  Ow!
 
				WAVERLY
			(Jumping up) 
		What's that?
 
	He runs toward the stairs.  Martha and Susan breathe 
	a sigh of relief and follow Waverly.
 
121.	MED. CLOSE SHOT - STAIRS 
 
	Waverly runs to the tangled Phil.
 
				PHIL
		My leg is broken!  Ow, ow!
 
				WAVERLY 
		Take it easy, boy.
			(He starts feeling his leg)
 
				PHIL
		Ow! Ow! It's broken!
 
				WAVERLY 
		No it isn't!  You may have a bad 
		sprain, but no bones are busted!
 
				PHIL
		It's broken, sir.  I can feel it.
 
				WAVERLY
		Let me help you.
 
122.	MED. CLOSE SHOT - INT. TELEVISION STATION
 
	The technician indicates for Ed Harrison to start as 
	the second hand hits straight up.
 
				ED 
		I would like to address all former 
		officers, enlisted men, Wacs and 
		nurses who were under the command 
		of General Tom Waverly --
 
123.	MED. SHOT - INT. COLUMBIA INN OUTSIDE WAVERLY'S OFFICE 

	Waverly and Martha are helping Phil through the door.
 
				PHIL
		Ow!  Ow! It's broken in two or
		three places!

				WAVERLY
 		That's just the impression you 
		have!  I tell you it's only shock!
 
	THE CAMERA FOLLOWS THEM into the office as they lay 
	him out on the couch.
 
				WAVERLY 
			(Laying him out) 
		Take it easy, boy!
 
				PHIL
		Don't leave me!  Everything is
		going round and round!
 
				WAVERLY 
		Nobody's leaving you!  Martha,
		get me a cold towel!
 
124.	MED. CLOSE SHOT - INT. TELEVISION STATION
 
				ED 
		The objective is Pine Tree,
 		Vermont --- Synchronize watches
 		for Operation Waverly...
 
125.	MED. SHOT - INT. OFFICE
 
	Phil has his eyes closed.
 
				WAVERLY 
		Things still going around?
 
				PHIL
		Now they're going sideways!

	Waverly takes the wet towel from Martha.
 
				PHIL (Cont'd) 
		Now they're going in and out!
 
	Waverly slaps the towel on his face.
 
				WAVERLY 
		This'll bring him out of it.
 
				PHIL
			(Sitting up) 
		Where am I?
 
				WAVERLY
		He's all right.

	Judy bursts into the room.
 
				JUDY
		Phil, what's happened to you?
 
	Phil assumes a pain-stricken face again and Judy
	throws her arms around him.  Phil smiles over her
	shoulder at Waverly. 

	DISSOLVE TO:
 
126. 	FULL SHOT - NIGHT - COUNTRY ROAD
 
	Silhouette of busses, Station in background, if
	desirable.
 
127.	MED. FULL SHOT - FORK IN ROAD
 
	Two men, with M.P. armbands, slow up the busses.  One 
	is revealed to be Phil.
 
				FIRST M.P.
		All quiet, folks!  Entering the
		town!

				PHIL
		The Old Man's asleep!  Let's keep
		him that way!
 
 	The busses move on.

	DISSOLVE TO:

128.	MED. SHOT - NIGHT - INT. LOBBY
 
	Bob and Betty tiptoe through the entrance to the 
	inn.  In the semidarkness of the lobby we hear a 
	"sst - ", and Susan and Martha are revealed having 
	been waiting for them.
 
				MARTHA 
		We've been waiting for you.
 
				BOB 
		How is everything going?
 
				SUSAN 
		Just fine.
 
				BETTY
		They are bedded down in all 
		the hotels.
 
	Martha blows her nose.
 
				MARTHA 
		His old outfit... If I wasn't 
		such a mean old biddy, I'd 
		probably break right down and cry. 
			(She cries)
 
				BOB 
		There's nothing to cry about,
		is there?
 
 	He looks to Susan and she begins to bawl.
 
				SUSAN
			(Through the crying) 
		Thank you so much.
 
	Bob looks to Betty for support.
 
				BOB 
		Can't you do something?
 
				BETTY
		They're just affected by the gesture.
 
	She can't hold it back either, and now the three 
	women are crying.
 
				BOB 
		That's fine.
 
				BETTY
			(Through her tears) 
		Where are Judy and Phil?
 
				BOB 
		Probably in their rooms, crying.
 
	They start out.
 
	DISSOLVE TO:
 
129. 	MED. SHOT - EXT. BUNGALOW - NIGHT 

	As Bob and Betty turn around the corner, they see
 	Phil and Judy, locked in an embrace.  Bob has been
 	in front, but he steps back quickly, not wanting to 
	embarrass the lovers.
 
				BETTY
		Who is it?  General Waverly?
 
				BOB 
		The lovers.

				BETTY
			(To Bob) 
		We can't just stand here.  We
 		have to get some sleep.
 
 	She walks into sight, Bob following.  Phil and Judy 
	break, embarrassed.
 
				JUDY
		We were rehearsing for the show 
		tomorrow night.
 
				BETTY 
		Is it going to be that kind of
 		a show?  We'll be raided!
 
				JUDY
		What are you doing here?  What
		happened at The Carousel?
 
				BETTY
		I'm helping out here tomorrow.
 
				PHIL
		Hi, Bob. Everything's under
		control.
			(Fluster) 
		I mean with the show. We've got
		a lot of new material.  You both
		are going to have to do a lot of 
		rehearsing. 
			(Flustered again) 
		I mean the other kind of rehearsing -
		I mean - rehearsing  Well, good
		night, Judy.
 
 	And he holds his hand out, and they shake hands, 
	still flustered.
 
				JUDY
		Good night, Phil.  Good night, Bob.
 
				BETTY
			(To both)
		Good night.
 
	Flustered, the boys open the door to the girls' bunga-
	low, thinking it is their own.
 
				PHIL
		Let's get out of here before the 
		gossip starts.

	They all laugh.  The girls enter their bungalow and 
	put on the light.  The boys head toward their 
	bungalow.  Phil eaters in a gay mood.  Bob stops at 
	the door, turns around and looks toward the window
	of the girls' bungalow.
 
	DISSOLVE TO:
 
130.	MED. SHOT - INT. GIRLS' BUNGALOW - NIGHT
 
	Judy is getting into bed.  Betty, in her dressing gown,
	is looking out of the window toward the boys'
	bungalow.
 
				BETTY 
		Bob is still pacing up and down on 
		the porch... I think I'll go out 
		and see what's bothering him.
 
				JUDY
		That's how I started in Canton,
		Ohio.
 
				BETTY
		This is Vermont.  Nothing can
		happen here.
 
				JUDY
		Keep your guard up... That ain't 
		Coolidge out on that porch.
 
	Betty throws her a look, and exits.
 
131.	EXT. BOYS' BUNGALOW - MED SHOT
 
	Bob stands on the porch, in robe and slippers, thought-
	fully puffing at his pipe. Betty comes into scene.
 
				BETTY
		What are you doing?  Sleep walking?
 
				BOB
			(Turning)
		Couldn't sleep.
 
	Betty comes up on the porch.
 
				BETTY
		Whatever you've got on your mind 
		isn't worth staying awake for.
 
				BOB 
		Where have I heard that?

				BETTY
 		Tell you how I handle a situation 
		like this, Doctor.
 
	She starts to sing, COUNT YOUR BLESSINGS.  At the 
	conclusion, she walks away, leaving him standing 
	there.
 
	FADE OUT.
 
	FADE IN:
 
132.	CLOSE SHOT - ARCHED SIGN IN FRONT OF INN - (NIGHT)
 
	This sign announces the show opening.  People are 
	streaming into the inn.

133.	MED. SHOT - INT. WAVERLY'S QUARTERS 

	The General is in his dressing gown, furious. Martha
	and Susan are playing a part.
 
				WAVERLY 
		How could you send all my suits 
		to the cleaners?
 
				MARTHA 
		You've only got two.
 
				SUSAN
		Why can't you wear your uniform?
 
				WAVERLY 
		I won't appear in uniform!
 
				SUSAN
		Please, Gramp.
 
				WAVERLY
		Absolutely not!
 
				MARTHA
		Very well.  I'll explain to Bob
		and Phil that you didn't care to 
		come to the show tonight.
 
				WAVERLY 
		I'll have you court-martialed!
 
				MARTHA 
		You don't mind being ungrateful, 
		you just don't like being told 
		you are!

				SUSAN
      		(Follows it up) 
		If you think you don't owe them 
		anything, you're not obliged to go.
 
				MARTHA 
		They haven't done much for you. 
		Hardly anything.  You do what you 
		think is right!
 
				WAVERLY 
			(Angrily)
		Martha, I'll make my own decisions!
		I got along very well in the army 
		without you!
 
				MARTHA 
		It took 15,000 men to take my place!
 
	She stalks out.
 
	DISSOLVE TO:
 
134. 	FULL SHOT - INN FLOOR - (NIGHT)
 
	It is slowly filling up.  One of the guiding officials
	turns out to be the Sheriff we have previously seen.

				PETE
			(Seating a party)
		Right this way.
 
135.	MED. SHOT - INT. MAKESHIFT DRESSING ROOM - BOB AND PHIL 

	They are getting into their old uniforms, which are 
	slightly misfit.
 
				BOB 
			(At the trousers)
 		This thing's shrunk.
 
				PHIL
			(Looking at the bulge) 
		Pants always shrink in closets.
 
				BOB 
		I can't breathe in this.  What
		am I going to do?
 
				PHIL
		I know what I'm going to do. 
			(Showing him) 
		I'm going to take one big deep 
		breath, and that's going to be 
		it for the next three hours.
 
	Bob takes a deep breath and gets the top button 
	buttoned.
 
136.	MED. SHOT - LOBBY STAIRWAY - (NIGHT)
 
	General Waverly comes down the stairs, cutting quite
	a figure in his uniform and decorations.  Martha and
	Susan, waiting for him at the bottom, look him over, 
	admiringly.
 
				WAVERLY 
			(Gruffly)
		Well, I couldn't come down in
		my bathrobe.
 
137.	FULL SHOT - INN FLOOR
 
	The spotlight prepared, pinpoints the General as he
	enters the room, and the music starts.  The audience
	rises and applauds.  He can't believe it.  He reaches 
	his table, decorated with flowers, and recognizes he
	is the guest of honor.  From the lobby we hear the
	outfit SINGING the opening strains of THE OLD MAN.  All
	eyes turn to the lobby entrance, through which the old 
	outfit marches, and continues to the stage, and then 
	back to their respective tables as the song finishes.
 
138.	MED. SHOT - WAVERLY
 
 	He is profoundly moved and walks to the stage.  The 
	audience is seated.  Waverly looks at the assembled
	crowd with great affection.  The people begin to
	shout, "Speech!  Speech!"  Martha and Susan sit.
 	The crowd quiets, waiting for the speech.
 
				WAVERLY 
			(He must have had a 
			blood transfusion from 
			a sergeant at some time) 
		I am not satisfied with the conduct 
		of this division!  Some of you men 
		are under the impression that having 
		been at Anzio entitles you not to 
		wear neckties!  You are wrong!  Neck-
		ties will be worn in this area!  I
		have also noticed a deterioration
		in the quality of saluting!  This is
		to be improved!  I have also had com-
		plaints from the commanding officer
		of the rest area in Naples!  He informs 
		me that the non-fraternization rule is 
		constantly being broken by men of this
		division!  In fact, this division is
		outstanding in its violations of non-
		fraternization!  You all know the rules! 
		The non-fraternization ban expressly 
		declares you are not to talk to women! 
			(A slightly different tone) 
		Don't talk to them!  That is all!
 
	They howl and cheer.  He makes has way toward his 
	own table, greeting old friends on the way.
 
139.	MED. CLOSE SHOT - BOB AND PHIL 

	As they step to the front of the stage.
 
				BOB 
			(To the audience)
		Doesn't that bring back memories?
		Remember those terrible, trying days  
		in Italy...when we had to beat the
		women off with chocolate bars?
 
				PHIL
		And wasn't it awful the way they 
		kept bothering us for American 
		cigarettes?  Why, I must have 
		taught fifty girls how to smoke...
 
				BOB 
		For a month's pay all we got was 
		950 million lira...
 
				PHIL
		Nine hundred and fifty two...
 
				BOB 
		I was forced to hire a caddy for 
		my loose change.

				PHIL
		Fore...!
 
				BOB 
		I'm glad I'm well out of it.
 
	Phil looks at him. 
 
				PHIL
		Who are we kidding?
 
	This is the cue for the orchestra to start the produc-
	tion number, I WISH I WAS BACK IN THE ARMY.  At end
	of number -
 
140.	AUDIENCE - FULL SHOT
 
 	As they applaud and cheer.  The old outfit is happy. 
	In the exultation, General Waverly places two fingers 
	to his lips and blows a whistle of sheer pleasure and 
	approval.  We underscore with MUSIC indicating another 
	number is taking place on stage, although we do not 
	see it.
 
141.	SECTION OF AUDIENCE - MED. CLOSE
 
	Ed Harrison crosses to General Waverly and whispers 
	to him.
 
				ED HARRISON
		Long distance call for you, sir.
 
	Waverly looks surprised, but rises and starts out. 
	Bob, visible in b.g., has been watching.  He and
	Harrison exchange knowing glances.
 
142.	AT HOTEL DESK - MED. SHOT
 
	The lobby is empty;  in b.g. are the doors to the
	dining room, where the show is in progress.  The 
	telephone lies on the counter.  Waverly enters and
	crosses to it.  He is a little annoyed at being 
	forced to leave the entertainment.
 
				WAVERLY 
			(Into phone, gruffly) 
		Hurry up, hurry up, I'm busy. 
		Yes, this is General Waverly,
 
	He suddenly snaps to attention, the old soldier.
 
				WAVERLY (Cont'd) 
			(Quietly) 
		And a Merry Christmas to you, Mr. 
		President... Yes, practically the whole
		outfit is here.  A little paunchy, but
		they're here.  It certainly was a 
		surprise -- more like a frameup.  As 
		usual, my Intelligence was not functioning 
		efficiently...Yes? 
			(Long pause) 
		That's very nice of you, Mr. President... 
		any time you want me, just say the word... 
		but may I add this?  It isn't always 
		necessary to take a job...sometimes it's 
		enough just to know it's there.
 
	Through the window behind the General we have seen
	it begin to SNOW.  The General notices it for the
	first time, and his face brightens.
 
				WAVERLY (Cont'd)
 		If you ever take it into your mind
 		to grab a little rest from all that 
		work I wish you'd drop in on us here --
		I can't promise you any golf but --
			(As he looks at the 
			falling snow) 
		-- we can certainly give you plenty 
		of snow, Mr, President... Yes, Mr. 
		President... What?
			(Smiles) 
		Thanks, Ike.
 
	He hangs up the phone, and proudly, head erect, he 
	walks through the lobby, smiling, eyes wet.  He lifts
	the bell on the desk with a loud bang.  Martha
	hurries in, startled.
 
				MARTHA
		You frightened me to death!  That
		bell hasn't been used for three 
		months!
 
				GENERAL 
		Get this area policed up.  No telling
		who might be dropping in.
 
	Martha salutes.
 
				MARTHA
		Yes, sir!
 
	She and the General gaze at the snow falling beyond 
	the lobby door which is blown open by the wind. 
	Underneath all this we have been hearing the 
	introductory music to WHITE CHRISTMAS, which is 
	the number now in progress on the stage.  Waverly 
	now turns and walks into the dining room.
 
143.	INT. DINING ROOM - MOVING CAMERA
 
	CAMERA FOLLOWS Waverly on his entrance.  As he passes 
	Susan, we see she is reacting to something on the stage. 
	CAMERA PASSES Waverly and moves to:
 
144.	STAGE - FULL SHOT - MOVING CAMERA
 
	Center stage, there is a large cutout of a decorated
	Christmas tree.  Also, there is considerable Christmas
	holly, mistletoe, etc.  Bob and Betty are seen 
	singing.  Throughout action of this number Phil and 
	Judy dance.  In addition there is staged movement by
	the ensemble.  Bob and Betty are on each side of the
	cutout Christmas tree, but it is obvious that Betty 
	is preoccupied with some stage business which she is 
	manipulating with one hand behind the cutout tree. 
	CAMERA FOLLOWS Bob and Betty as their movement takes
	them behind the tree.  It is now that we see very
	clearly that the rear wall of the stage (two immense 
	barn doors) has opened; in b.g. we see the Vermont
	countryside being covered by the falling snow.  Also, 
	we see pine trees in the snow that are decorated. 
	Betty steers Bob to a point directly beneath a sprig 
	of mistletoe from which is also hanging the mate to
	the sock she gave him in scene 110.  Bob looks up,
	sees the mistletoe and the sock, and smiles at Betty. 
	She lifts one of his trouser legs and we see that he 
	is wearing the other sock.  They laugh and embrace.
 
145.	REVERSE SHOT - FROM DINING ROOM
 
	The cutout tree onstage rises to the flies and now 
	the real trees and falling snow in b.g. are completely
	visible.  One by one, the trees are lighted.
 
146.	AUDIENCE - MED. CLOSE
 
	Martha and Susan are standing happily beside the 
	General, each holding one of his arms.
 
147.	EXT. VERMONT TOWN - EXTREME HIGH SHOT - (MINIATURE)
 
	A church bell is framed in the foreground, and, far in 
	the distance, we see the town and the Inn and the
	snow as we
 
	FADE OUT.
 
			THE  END
 

 


 
FINAL WHITE
Norman Krasna
July 7, 1953





***********************BONUS***********************
******************SELECTED SONGS*******************

The Old Man

We'll follow the old man wherever he wants to go Long as he wants to go opposite to the foe We'll stay with the old man wherever he wants to stay Long as he stays away from the battle's fray Because we love him, we love him Especially when he keeps us on the ball And we'll tell the kiddies we answered duty's call With the grandest son of a soldier of them all

Sisters

Sisters, sisters, there were never such devoted sisters Never had to have a chaperone, "No sir" I'm there to keep my eye on her Caring, sharing ev'ry little thing that we are wearing When a certain gentleman arrived from Rome She wore the dress and I stayed home All kinds of weather, we stick together, the same in the rain or sun Two diff'rent faces, but in tight places, we think and we act as one Those who've seen us know that not a thing could come between us Many men have tried to split us up, but no one can Lord help the mister who comes between me and my sister And Lord help the sister who comes between me and my man [Male version, not in film:] Brothers, brothers, there were never such devoted brothers When there comes a glamor girl who's nice and trim He watches me and I watch him Caring, sharing, ev'ry little thing that we are wearing When a certain signorina came from Rome He wore the blue serge, I stayed home All kinds of weather, we stick together, the same in the rain or sun Two diff'rent faces, but in tight places, we think and we act as one Those who've seen us know that not a thing could come between us Many girls have tried to split us up, but no one shall Lord help another who comes between me and my brother And Lord help the brother who comes between me and my gal

Count Your Blessings Instead of Sheep

When I'm worried and I can't sleep I count my blessings instead of sheep And I fall asleep Counting my blessings When my bankroll is getting small I think of when I had none at all And I fall asleep Counting my blessings I think about a nursery and I picture curly heads And one by one I count them as they slumber in their beds If you're worried and you can't sleep Just count your blessings instead of sheep And you'll fall asleep Counting your blessings

What Can You Do With A General?

[VERSE:] When the war was over, why, there were jobs galore For the G.I. Josephs who were in the war But for generals things were not so grand And it's not so hard to understand [REFRAIN:] What can you do with a general When he stops being a general? Oh, what can you do with a general who retires? Who's got a job for a general When he stops being a general? They all get a job but a general no one hires They fill his chest with medals while he's across the foam And they spread the crimson carpet when he comes marching home The next day someone hollers when he comes into view "Here comes the general" and they all say "General who?" They're delighted that he came But they can't recall his name Nobody thinks of assigning him When they stop wining and dining him It seems this country never has enjoyed So many one and two and three and four star generals Unemployed

Love, You Didn't Do Right By Me

Love, you didn't do right by me You planned a romance that just hadn't a chance And I'm through Love, you didn't do right by me I'm back on the shelf and I'm blaming myself But it's you My one love affair didn't get anywhere from the start To send me a Joe who had winter and snow in his heart Wasn't smart Love, you didn't do right by me As they say in the song "You done me wrong!" [alternate line for male:] To send me a Jane who had thunder and rain in her heart

Gee, I Wish I Was Back in the Army

[VERSE:] When I was mustered out I thought without a doubt That I was through with all my care and strife I thought that I was then The happiest of men But after months of tough civilian life [1st REFRAIN:] Gee, I wish I was back in the Army The Army wasn't really bad at all Three meals a day For which you didn't pay Uniforms for winter, spring and fall There's a lot to be said for the Army The life without responsibility A soldier out of luck Was really never stuck There's always someone higher up where you can pass the buck Oh, gee, I wish I was back in the Army [2nd REFRAIN:] Gee, I wish I was back in the Army The Army was the place to find romance Soldiers and WACS The WACS who dressed in slacks Dancing cheek to cheek and pants to pants There's a lot to be said for the Army A gal was never lost for company A million handsome guys With longing in their eyes And all you had to do was pick the age, the weight, the size Oh, gee, I wish I was back in the Army [3rd REFRAIN:] Gee, I wish I was back in the Army The shows we got civilians couldn't see How we would yell for Dietrich and Cornell Jolson, Hope and Benny all for free [alternate line from sheet music: Crosby, Hope and Jolson all for free] There's a lot to be said for the Army The best of doctors watched you carefully A dentist and a clerk For weeks and weeks they'd work They'd make a thousand dollar job and give it to a jerk Oh, gee, I wish I was back in the Army

A Man Chases a Girl (Until She Catches Him)

A man chases a girl until she catches him He runs after a girl until he's caught He fishes for a girl until she's landed him It all comes out exactly the way she thought Uncertain, he tags along behind Uncertain, till she makes up his mind A man chases a girl until she catches him But don't run too fast while you are saying "No" And once you've caught him, don't ever let him go

Bells

[VERSE:] Very many years ago Mister Edgar Allan Poe Wrote a little poem I know Called "Bells" When I read those clever rhymes Of the many different chimes I could almost hear them ringing Ding dong dinging [REFRAIN:] Phone bells, sleigh bells And very merry Christmas day bells The brazen fire bells that ring with fear And happy New Year bells that ring out once a year Cow bells, door bells For all I know there may be more bells But the poet tells That wedding bells Have the sweetest little ding dong of all

White Christmas

[VERSE (not in film):] The sun is shining, the grass is green The orange and palm trees sway I've never seen such a day In Beverly Hills, L.A. But it's December the twenty-fourth And I am longing to be up north [REFRAIN:] I'm dreaming of a white Christmas Just like the ones I used to know Where the treetops glisten and children listen To hear sleigh bells in the snow I'm dreaming of white Christmas With every Christmas card I write May your days be merry and bright And may all your Christmases be white
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